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Despite the sophistication of international audiences and the politically subversive work produced by postcolonial créatives in the Pacific, romanticism continues to profoundly shape critical discourses about film and television set in the South Pacific. This article examines how the criticism generated (and sometimes not generated) in academic studies and among film critics reflects persistent discourses of primitivism. Even politically progressive narratives find themselves subject to the gravity of romanticism. The sheer persistence of these assumptions that continue to cast Pacific subjects as timeless, innocent and primitive remind us of the resilience of what Trouillot calls \"the Savage slot\" (1991, 2003).

Background The World Health Organization (WHO) has called for global approaches to palliative care development. Yet it is questionable whether one-size-fits-all solutions can accommodate international disparities in palliative care need. More flexible research methods are called for in order to understand diverse priorities at local levels. This is especially imperative for Indigenous populations and other groups underrepresented in the palliative care evidence-base. Digital storytelling (DST) offers the potential to be one such method. Digital stories are short first-person videos that tell a story of great significance to the creator. The method has already found a place within public health research and has been described as a useful, emergent method for community-based participatory research. Methods The aim of this study was to explore Māori participants’ views on DST’s usefulness, from an Indigenous perspective, as a research method within the discipline of palliative care. The digital storytelling method was adapted to include Māori cultural protocols. Data capturing participant experience of the study were collected using participant observation and anonymous questionnaires. Eight participants, seven women and one man, took part. Field notes and questionnaire data were analysed using critical thematic analysis. Results Two main themes were identified during analyses: 1) issues that facilitated digital storytelling’s usefulness as a research method for Māori reporting on end of life caregiving; and 2) issues that hindered this process. All subthemes identified: recruitment, the pōwhiri process, (Māori formal welcome of visitors) and technology, related to both main themes and are presented in this way. Conclusion Digital storytelling is an emerging method useful for exploring Indigenous palliative care issues. In line with a Health Promoting Palliative Care approach that centres research in communities, it helps meet the need for diverse approaches to involve underrepresented groups.

Many popular Hollywood films about Oceania or set in the Pacific have been criticised and dismissed by Pacific scholars and film-makers as grossly misrepresentative of the region. Nevertheless, both critically acclaimed and populist films form an integral part of the mediascape within which more contemporary factual films by and about Pacific communities are situated. In many cases the dialectic between Hollywood and contemporary performance in the Pacific is strategic and self-conscious; however, in documentary formats, this dialectic can be problematic and consequently overlooked or repressed. Drawing upon the operations of irony in contemporary Pacific screen production, Thompson's description of cinematic excess and Nichols's elaboration of documentary excess, this paper examines how the critically acclaimed, anti-colonial, pro-self-determination factual film Act of War: Overthrow of the Hawaiian Nation reflects the return of repressed Hollywood imagery in its discursive practices.

The popularity of Bollywood or Indian films in Nuku'alofa, examining the textual and aesthetic elements that allow Hindi cinema to 'crossover', is discussed. The informal, grassroots and 'disjunctive' circuits of exchange that make Bollywood popular among Tongan audiences are also discussed. It is suggested that in addition to the narrative, aesthetic and affective appeal of Bollywood films and Filipino soap operas in Tonga, both phenomena offer specific opportunities to reconceptualise disjuncture and cultural flows in Pacific media-scapes.

Argues that despite the sophistication of international audiences and the politically subversive work produced by postcoloinal creatives in the Pacific, romanticism continues to profoundly shape critical discourses about film and television set in the South Pacific. Examines how the criticism generated (and sometimes not generated) in academic studies and among film critics about Pacific & Māori cinema and television reflects persistent discourses of primitivism. Refers to Trouillot's concept of 'the Savage slot'. Reflects on 'Bro'town', 'Sione's wedding', and 'Boy'. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.

Throughout much of the twentieth century, Hollywood westerns were a popular and significant influence on Pacific imaginaries and cultural life (Pearson 2013; Salesa 2010; Te Punga Somerville 2010). Cinematically inspired cowboys figured in historical events (Salesa 2010), photographs (Tonga 2014), and literature (Te Punga Somerville 2010). Traces can even be discerned in screen production itself (Pearson 2014). In 1914, four Samoan youths robbed a Chinese gambling establishment, stole government firearms and ammunition, murdered two German planters, and staged a shootout worthy of the penultimate scene in the silent westerns that screened twice weekly in Apia’s Town Hall. Around the same

Many popular Hollywood films about Oceania or set in the Pacific have been criticised and dismissed by Pacific scholars and film-makers as grossly misrepresentative of the region. Nevertheless, both critically acclaimed and populist films form an integral part of the mediascape within which more contemporary factual films by and about Pacific communities are situated. In many cases the dialectic between Hollywood and contemporary performance in the Pacific is strategic and self-conscious; however, in documentary formats, this dialectic can be problematic and consequently overlooked or repressed. Drawing upon the operations of irony in contemporary Pacific screen production, Thompson's description of cinematic excess and Nichols's elaboration of documentary excess, this paper examines how the critically acclaimed, anti-colonial, pro-self-determination factual film Act of War: Overthrow of the Hawaiian Nation reflects the return of repressed Hollywood imagery in its discursive practices. Reproduced by permission of Taylor and Francis

How do images circulating in Pacific cultures and exchanged between them and their many visitors transform meanings for all involved? This fascinating collection explores how through mimesis, wayfarers and locales alike borrow images from one another to expand their cultural repertoire of meanings or borrow images from their own past to validate their identities.

M ori regard stories as a preferred method for imparting knowledge through waiata (song), moteatea (poetry), kauwhau (moralistic tale), pakiwaitara (story) and purakau (myths). Storytelling is also an expression of tinorangatiratanga (self-determination); M ori have the right to manage their knowledge, which includes embodiment in forms transcending typical western formulations. Digital storytelling is a process by which 'ordinary people' create short autobiographical videos. It has found application in numerous disciplines including public health and has been used to articulatethe experiences of those often excluded from knowledge production. To explore the use of digital storytelling as a research method for learning about wh nau (family) experiences providing end of life care for kaum tua (older people). Eight M ori and their nominated co-creators attended a three-day digital story telling workshop led by co-researchers Shuchi Kothari and Sarina Pearson. They were guided in the creation of first-person digital stories about caring for kaum tua. The videos were shared at a group screening, and participants completed questionnaires about the workshop and their videos. A Kaupapa M ori narrative analysis was applied to their stories to gain new perspectives on M ori end of life caregiving practices. (Kaupapa Maori research privileges Maori worldviews and indigenous knowledge systems.) Digital storytelling is an appropriate method as M ori is an oral/aural society. It allows M ori to share their stories with others, thus promoting community support at the end of life, befitting a public health approach. Digital storytelling can be a useful method for M ori to express their experiences providing end of life caregiving.