Post-colonial New Zealand cinema : Gothic aesthetics and the repression of Pākehā violence in New Zealand in Fantail
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Citation:Lynch, C. (2017). Post-colonial New Zealand Cinema: Gothic aesthetics and the repression of Pākehā violence in Fantail. Pūrātoke: Journal of Undergraduate Research in the Creative Arts and Industries, 1(1), 7-16. Auckland, New Zealand : Unitec Institute of Technology. Unitec ePress. Retrieved from: http://www.unitec.ac.nz/epress
Permanent link to Research Bank record:https://hdl.handle.net/10652/4030
Fantail (2013), written by Sophie Henderson and directed by Curtis Vowell, has not yet received scholarly attention for its relationship to several dominant trends in New Zealand cinema. This essay examines Fantail’s protagonist Tania as a new articulation of the gothic Pākehā woman in identity crisis, a trope embodied in films such as The Piano (Jane Campion, 1993). Through Tania, Fantail acknowledges the harmful consequences of Pākehā repression of colonial violence, ignorance of Māori historical disenfranchisement and eroticisation and appropriation of Māori culture. This reading models how gothic aesthetics, adaptations of past tropes, and restricted narrative subjectivity can function within film as tools of critique, allowing Fantail to simultaneously perpetuate and criticise dominant representational trends in New Zealand’s national cinema.
Ngā Upoko Tukutuku (Māori Subject Headings):Kiriata, Taipūwhenuatanga, Tua taipūwhenuatanga, Wāhine, Tāngata whenua, Tuakiri
Keywords:New Zealand films, post-colonial, women in film, Fantail (Film - 2013), gothic aesthetics, colonialism, violence, historical representations, identity, Māori in film, film studies
ANZSRC Field of Research:190204 Film and Television, 200205 Culture, Gender, Sexuality
Copyright Holder:Unitec ePress
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