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Films can provide a unique window into other cultures, and it is through this window that audiences on a global scale are able to peer into different lifestyles, traditions, and histories of others, and become exposed to countries, regions, or subcultures that are unlike themselves. The concept of National cinema is something that has been debated by film scholars and critics for years, as the ideas of location, distribution and globalization all serve to create different methods of understanding National Cinema and what it is all about. The films Rabbit Proof Fence, Once Were Warriors, and The Whale Rider, are films that generate through mass distribution the local values and expressions of indigenous cultures and traditions, yet in similarly doing so the films differently exude ideas of National Cinema and their aspects of globalization. This essay will explore some of these critical theories in relation to or exuded by each film and delve into different scholarly takes on how National Cinema expresses the overall idea that the cinematic works are expressed or function as self portraits of culture and indigenous nationalities rather than objective reports of how people go about their lives. National cinema through all its theory ultimately serves the purpose of story-telling and culture-preserving – it is not merely a realm of cinema that serves to open up audiences’ eyes on a global scale, it draws them into their local world. The Whale Rider is the one that mainly concerns about the views of the indigenous people who are residing in Canada, Australia and New Zealand. This film share main focus on the clash that occurs in culture that characterizes postcolonial societies. The main motive of the film is to promote indigenous culture (old culture) that is lost or forgotten in today’s society. As these films focus on the indigenous people and develops a new interest in the non-white citizens of the nation and also pays tribute to Whale Rider locates the impact of years Pakeha influence on the Maori culture. “Scenes of local rituals were a part of Barclay’s film and he sought to chronicle as many quotidian aspects of Maori culture as he could in order to respectfully represent his culture on screen”(Barry Barclay, 1988). It also highlights the common practice that was followed in Australia regarding the removal of Aboriginal children and therefore an act was passed in 1905 in Australia according to which these children were given work with a goal to develop self respect and make them useful in the society. The documentary films that were made was not made only with a way to provide entertainment but also to provide a means of providing teaching of language communication and to teach people various methods of film making. These films also entertained people as well as allowed them to speak their different views.(Fourth World Cinema, Whale Rider)

Rabbit Proof film also highlights the various phases that the national cinema has gone through, where it originates from and till where it has reached. The different variety of national cinema based on the political, economic and cultural regimes of different nation-state license based on the familiarity to the present day readership as Cinemas differing from Hollywood which do not compete directly by targeting the distinct specialist market sector, those that do not compete directly but do critique the Hollywood directly, Third World and European cinema entertainment that struggle against Hollywood with limited or no success, cinemas that ignore Hollywood and are run by few. (Tom O’ Regan, Rabbit Proof Fence)

As described in the Once Were Warriors, Anglophone cinemas that try to beat Hollywood at its own game. Cinemas that work within a state-controlled and often substantially under state-subsidized industry.Hollywood has dominated the world film makers since 1919 (Thompson, 1985, Guback, 1976). As a matter of fact, in 1914, almost 90% of the films shown worldwide were...
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