English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Most films about the Pacific may be described as transnational in terms of production (and often content), but is it ever possible, within a Postcolonial or Indigenous critique, to move beyond conversations about appropriation? And is the transnational aspect of the film the most useful way to categorise it? Specifically engaging with the Mathieu Kassovitz film L’Ordre et la morale, a retelling of the 1988 French military assault on Kanak hostage-takers in Ouvea, New Caledonia, this article explores whether we can reconcile the twin dangers of Pacific narratives going untold (and the consequent erasure felt by Indigenous people) versus the peril of Pasifika people seeing only shallow, erroneous, or negative stereotypes of themselves on screen. What role, if any, can non-Indigenous filmmakers play in the cinematic reproduction of Indigenous Pacific histories?

L’Ordre et la Morale: Looking Beyond the Transnational in a Non-indigenous Film About Recent Pacific History