Cultures vary within different groups around the world. Yet, despite these variances, they all find themselves impeded by change, or modern-day interferences. New Zealand includes one tribe where change interferes with the customs set upon by their ancestors. The Maori tribe in Whale Rider (2003), produced by Niki Caro, presents cultural change by showing one girl’s relentless pursuit to become Maori chief in a tribe primarily ruled by men. Hidden in the shadows, Paikea follows the many tasks and tribulations set forth by her grandfather and tribe leader, Koro, who yearns to find the next chief. New Historicism analyzes the Maori tribes preconceived notions toward leadership and the new ideals appearing during the time-period set forth by Whale Rider.
When Whale Rider begins, cultural change has already effected the main family. A line has appeared between tradition and modernity; the younger generation and women fell
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As she talks, the camera focuses on her face, on her storytelling technique and passion. Pai presents the Maori culture and traditional storytelling techniques wsith passion, dedication, and a history far greater than one person. Cultural traditions, passed down through generations, and Pai’s speech represent her knowledge given by Koro throughout the film. Everything she learned and everything her culture stands for illuminates the scene. Waititi Kahurangi says in his article Māori documentary film: Interiority and exteriority that “One reason Māori told and tell stories is to help preserve values and beliefs as well as continue histories and teachings” (3). To camera panned in on Pai’s face, reading the details and expressions she used when delivering her speech. The room’s quiet atmosphere mesmerized the audience and Caro omitted music so all attention rested on Pai’s speech. Caro focused only on Pai’s words and expression to capture Maori