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DA Alin Weismann 03:09 Die Darstellung von Māori im Spielfilm. Die Bildung einer indigenen Identität anhand eines Massenmediums. DIPLOMARBEIT zur Erlangung des Magistergrades der Philosophie an der Fakultät für Human- und Sozialwissenschaften der Universität Wien eingereicht von Alin Weismann Wien, März 2009 1 Inhaltsverzeichnis 1. Vorwort............................................................................................................................................7 2. Einleitung........................................................................................................................................9 3. Einführung in die Geschichte Neuseelands................................................................................12 3.1 Neuseeland vor der Kolonisierung.............................................................................12 3.2 Die Entdeckung Neuseelands.....................................................................................13 3.2.1 Die erste europäische Besiedlung...............................................................................14 3.2.2 Treaty of Waitangi.......................................................................................................15 3.3.3 Auswirkungen der europäischen Besiedlung auf die gesellschaftliche Situation.......16 3.4 Wirtschaft und Regierungsform von damals bis heute...............................................17 3.5 Die Modernisierung Neuseelands...............................................................................19 3.6 Neuseelands Population im Wandel der Zeit..............................................................20 3.6.1 Das Zusammenleben zweier Kulturen........................................................................21 3.6.2 Aufbruchsstimmung....................................................................................................22 3.6.3 Die ersten Proteste von Māori....................................................................................24 3.7 Das kulturelle Zusammenleben im 21. Jahrhundert...................................................25 4. Einführung in die Geschichte des neuseeländischen Films......................................................26 4.1 Die Anfänge................................................................................................................26 4.2 Die klassische Ära......................................................................................................27 4.3 The New Wave............................................................................................................28 4.4 Lücken im Gesetz.......................................................................................................29 4.5 Frauen und der neuseeländische Film.........................................................................30 4.6 Filme über Māori - Filme von Māori..........................................................................31 4.7 Gegenwärtige Produktionen.......................................................................................34 4.8 Neuseeländische Filme von internationaler Reputation.............................................34 2 5. Cultural Studies als Grundlage dieser Arbeit....................................................................37 5.1 Was sind Cultural Studies...........................................................................................37 5.2 Definition von Kultur aus der Sicht der Cultural Studies...........................................38 5.2.1 Exkurs: Kultureller Kontext........................................................................................40 5.3 Definition von Identität aus der Sicht der Cultural Studies........................................41 5.4 Zusammenhang von Kommunikation und Kultur......................................................46 6. Kulturelle Identität der Māori in Filmen von Pākehā..............................................................49 6.1 Präsentation von Māori durch die Brille von Pākehā................................................49 6.1.2 Primitiv und brutal: Der stereotype Māori-Mann.......................................................52 6.1.3 Exotisch und erotisch: Die stereotype Māori-Frau.....................................................53 6.1.4 Zwischen den Extremen: Das stereotype Māori-Kind................................................54 6.1.5 Zwecke der Fotografien und Filme von Māori...........................................................55 6.2 Spielfilme von Pākehā-Regisseuren bis in die 1980er Jahre......................................56 6.2.1 Rewi‘s Last Stand (1925 und 1940)...........................................................................56 6.2.2 To Love a Māori (1972)..............................................................................................58 6.2.3 Broken Barrier (1952).................................................................................................59 6.2.4 Came A Hot Friday (1984)..........................................................................................62 6.3 Der Umschwung: Spielfilme ab 1980.........................................................................64 6.3.1 Pictures (1981)............................................................................................................65 6.3.2 Utu (1983)...................................................................................................................66 6.3.3 Whale Rider (2002)....................................................................................................71 6.4 Zusammenfassung......................................................................................................76 7. Indigenes Filmemachen in Neuseeland.......................................................................................78 7.1 Determinanten eines Māori-Films..............................................................................79 7.1.2 Definition eines Māori-Films nach Barry Barclay......................................................80 7.1.3 Definition eines Māori-Films nach Martin Blythe.....................................................81 7.1.4 Definition eines Māori-Films nach Ian Conrich.........................................................82 7.1.5 Differierende Meinungen zur Begriffserläuterung.....................................................82 7.1.6 Exkurs: Fourth Cinema...............................................................................................83 7.1.6.1 Versuch einer Definition.............................................................................................83 7.2 Einblick in die momentane Situation des indigenen Films.........................................87 3 7.2.1 Problematiken beim Realisieren eines Māori-Films...................................................88 7.2.1.1 Fehlende Fachkräfte....................................................................................................88 7.2.1.2 Finanzierung...............................................................................................................89 7.3 Kurzer Ausblick auf die Zukunft des indigenen Films...............................................91 8. Kulturelle Identität der Māori in Filmen von Māori................................................................93 8.1 Spielfilme von Māori-Regisseuren.............................................................................93 8.1.2 Merata Mita.................................................................................................................93 8.1.2.1 Patu! (1983)................................................................................................................98 8.1.2.2 Mauri (1988).............................................................................................................100 8.1.2.2.1 Kritik an Mauri.........................................................................................................104 8.1.3 Barry Barclay ...........................................................................................................107 8.1.3.1 Ngati (1987)..............................................................................................................110 8.1.3.2 Te Rua (1991)...........................................................................................................113 8.1.3.2.1 Kritik an ‚Te Rua‘.....................................................................................................116 8.1.4 Lee Tamahori............................................................................................................117 8.1.4.1 Once Were Warriors (1994)......................................................................................117 8.1.5 Don Selwyn...............................................................................................................128 8.1.5.1 The Māori Merchant of Venice (2002).....................................................................129 8.2 Zusammenfassung....................................................................................................132 9. Inter- und Transkulturelle Kommunikation............................................................................135 9.1 Interkulturelle Kommunikation................................................................................135 9.1.1 Die Bedeutung von Kultur innerhalb der interkulturellen Kommunikationswissenschaften..............................................................................135
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