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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

References: Tom O’ Regan, “Australian National Cinema”, National Cinema Series Jennifer L Gauthier: “Indigenous Feature Films”, Cineaction;ProQuest Direct Complete; 2004; pg. 63 Crofts, Stephen: “Australian Cinema as national Cinema”; New York [Columbia University Press, 1993] Crofts, Stephen: “Ideology and Form”; Soviet. Socialist Realism and Chapayev, Film Form 1, 1976 Barry, Barclay: “The control of one’s own images”; Illusions 8, 1988 Burton, Julianne: “Marginal cinemas and mainstream critical theory”, Screen: 25, 3-4, 1985 Thompson, Kristin: “Exporting entertainment America in the world film market,” [London British Film Institute, 1984] Willemen, Paul: “The Third Cinema Questions: Notes and reflections,” Framework 34, 1997