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Pacific Encounters: Art and Divinity in Polynesia, 1760-1860 (review)

Pacific Encounters: Art and Divinity in Polynesia, 1760-1860 (review) book and media reviews 657 way, Samoan Wedding also retains a In expressing their own perspectives measure of cultural authenticity by of the world, Pacifi c Island fi lmmak- featuring an all-Samoan ensemble of ers are actively subverting many of the actors and actresses. deeply ingrained stereotypes that have The Land Has Eyes and Samoan been projected on the silver screen and Wedding thus provide an interesting into the public imagination by Hol- contrast to No. 2. While it may be lywood fi lm studios. Divested of their argued that the absence of Fijians in cultural specifi city, Pacifi c Islanders the fi lm denotes a kind of cultural inau- have historically been treated as exotic thenticity, this should not necessarily background foliage in fi lms such as be viewed as marring the fi lm’s integ- South Pacifi c (1958), Blue Crush rity or value; there is a high degree of (2002), and 50 First Dates (2004), authenticity in terms of the narrative, rather than featuring as central, fully which is written by a person of Fijian formed characters. Viewed from this ancestry. Here, the line between inau- angle, Samoan Wedding and No. 2 thenticity and authenticity, representa- take http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

Pacific Encounters: Art and Divinity in Polynesia, 1760-1860 (review)

The Contemporary Pacific , Volume 19 (2) – Aug 13, 2007

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 University of Hawai'i Press.
ISSN
1527-9464

Abstract

book and media reviews 657 way, Samoan Wedding also retains a In expressing their own perspectives measure of cultural authenticity by of the world, Pacifi c Island fi lmmak- featuring an all-Samoan ensemble of ers are actively subverting many of the actors and actresses. deeply ingrained stereotypes that have The Land Has Eyes and Samoan been projected on the silver screen and Wedding thus provide an interesting into the public imagination by Hol- contrast to No. 2. While it may be lywood fi lm studios. Divested of their argued that the absence of Fijians in cultural specifi city, Pacifi c Islanders the fi lm denotes a kind of cultural inau- have historically been treated as exotic thenticity, this should not necessarily background foliage in fi lms such as be viewed as marring the fi lm’s integ- South Pacifi c (1958), Blue Crush rity or value; there is a high degree of (2002), and 50 First Dates (2004), authenticity in terms of the narrative, rather than featuring as central, fully which is written by a person of Fijian formed characters. Viewed from this ancestry. Here, the line between inau- angle, Samoan Wedding and No. 2 thenticity and authenticity, representa- take

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Aug 13, 2007

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