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This article is underpinned by the simple question of what knowledge is produced about Māori men and why. In particular, it deconstructs the invention, authentication, and re-authentication of \"traditional\" Māori patriarchy. It begins by examining how Māori patriarchy was invented and authenticated through the hybridization of Māori and British masculine cultures, especially through the early colonial education of a select few Māori boys, who were subjects of a British public schooling technique. The article draws from this historical analysis to demonstrate how Māori patriarchy continues to be authenticated in today's popular culture. Here, the contemporary re-authentication of Māori patriarchy is drawn attention to through a deconstruction of the film Whale Rider. This film analysis argues that Whale Rider deploys a dangerous conflation of representation and reality, which ultimately re-authenticates the invented tradition of Māori patriarchy. The article is less concerned with denouncing particular tropes of Māori men as \"false\" and more with how such \"truths\" have come to be privileged; it also seeks to uncloak the processes that produce Māori masculine subjectivities.

This article examines the Slovene translations of the novels The Whale Rider and Whanau II by Maori writer Witi Ihimaera. This is done from the perspective of how successfully they decipher and reconstruct cultural, historical and stylistic specificities of the source texts in the target Slovene culture, highlighting some of the translators' choices which may be avoided in the future in order to enhance the translations' role as intercultural mediators.

Whale Rider author Witi Ihimaera is riding his success to the United States after being offered a month-long...

This paper takes as its theoretical perspective Julia Kristeva's reading of the Freudian myth of origin to explore the themes of exclusion and revolt in Witi Ihimaera's emancipatory narrative. In Kristeva's reading, exclusion and revolt are human mechanisms that inevitably occur in social situations of hierarchy and tradition. This paper explores these mechanisms in Ihimaera's re-creation of the myth of Paikea in the film Whale Rider and dramatises the particular ways in which exclusion and revolt function in a Maori community. Ihimaera's rendering of his iwi's myth of origin suggests a renewed understanding of past traditions, and presents a vision of present-day reconciliation and future survival.

This sentimental crowd-pleaser about a young Maori girl facing her tribal destiny is somewhere between whale music and world music, or maybe a cross between Free Willy and a 90-minute Benetton ad. It's set in a remote, and beautifully photographed New Zealand coastal town where Maori elder Koro (Rawiri Paratene) is chief of a clan claiming descent from the legendary Whale Rider. When his son's wife dies in childbirth with twins, only the girl, Paikea, survives; and her traumatised father runs off to be an artist in Europe without embracing his responsibilities.

\"Whale Rider\" begins --- as do a disquieting number of child- centric stories --- with the death of a mother. Protagonist Pai's ([Keisha Castle-Hughes]) mother dies giving birth to her and her twin brother, who also dies. Pai's grandfather, Koro (Rawiri Paratene), the leader of their tribe, quickly makes it clear he cares more about his dead grandson than his live granddaughter. \"A girl is no use to me,\" he says. A dozen years later, Pai is everything a leader should be --- bright, resourceful, capable, unafraid and fascinated by her tribal heritage. She's also a girl, and that makes everything else beside the point. Ignoring the true heir under his nose, Koro gathers the village's oldest sons and teaches them tribal lore, from chants to martial arts, so he can choose a new leader. But Pai is not to be deterred and, as the title implies, her destiny arrives from the sea. Photo In \"Whale Rider,\" the courageous and resourceful Pai (Keisha Castle- Hughes) is dismissed as a potential tribal leader because of her gender./ Newmarket Films

Pride in her people's history is what galvanizes Pai (Keisha Castle-Hughes), 12, a Maori girl on the east coast of modern New Zealand. She is descended from a long line of chiefs, stretching back to her legendary namesake, Paikea, who rode to the islands atop a whale. Pai's mother and twin brother died in childbirth, breaking the lineage of male leaders and compelling Pai's artist father (Cliff Curtis) to move to Europe. Pai was raised by her grandfather, the village elder Koro (Rawiri Paratene), who discouraged her interest in tribal traditions. Pai is such a compelling hero because she is doubly marginalized - female and aboriginal in a country where white migrants have eroded her language and male elders have denied her nobility. Extraordinary newcomer Castle-Hughes imbues Pai with such dark-eyed depth of character that she never resorts to stereotypical expressions of adolescent rebellion. Indeed, a scene at a school assembly where she tearfully recites her family history is so gripping because it reminds us simultaneously of how young and how wise she is.

Keisha Castle-Hughes was 11 when she won the role of a Maori girl who challenges her grandfather in \"Whale Rider.\" Paikea (Keisha Castle-Hughes, left) challenges her grandfather [Koro] (Rawiri Paratene) in \"Whale Rider.\"