Representing multiculturalism in a bicultural nation: the question of diversity in New Zealand cinema

Abstract

Historically, New Zealand has always represented itself as a bicultural nation of Maori (indigenous peoples) and Pakeha (white settlers), and this is reflected in its national cinema. But since the introduction of the Immigration Act 1987, New Zealand has increasingly become a multicultural and globally networked nation. However, this is rarely reflected in its national cinema, which largely continues to operate within a bicultural framework. Given this historical context, this paper explores the tension between what is called the 'Maori Cultural Renaissance' since the 1970s on the one hand, and the increasing demands for inclusion of various migrant communities on the other, in relation to the dominant Pakeha culture, using New Zealand cinema as a case study. The combination of a very small population (4 million), a relatively remote location, and advanced economic liberalisation means that producing a national cinema is always going to be a struggle in the face of global competition. The majority of films produced in New Zealand are therefore heavily reliant on government support. This in turn means that funding decisions are often based on official versions of nationhood and national identity, and the institutions responsible for these decisions are dominated by Pakeha. This paper discusses the impact of this situation on the content of New Zealand cinema, and the ways in which debates about multiculturalism and biculturalism are framed in this context, before drawing some conclusions about its wider impact on how the nation imagines itself and projects itself globally.