'Niki Caro’s Whale Rider – An analysis in relation to journeys Essay\r'

'The inner journey is integrity which involves the hurdling of psychological barriers, as sanitary as cultural and social obstructions, kind of than just a physical trek. The refreshing Things F each Apart (1958) by Chinua Achebe and the contract colossus Rider (2002) by Niki Caro two address the overcoming of emotional boundaries, bit future(a) the progress of the main characters. Issues such as cultural differences and gender equality ar presented by the composers through with(predicate) the clever go for of devices appropriate to the medium, while using the post-colonial background to accentuate these issues.\r\n homogeneous to Things Fall Apart, the film hulk Rider by Niki Caro explores the sectionalisation of Maori culture in post-colonial New Zealand. It follows the journeys of Pai, a young girl, and Koro, her grandfather, who both seek to bear upon and preserve the Maori tradition, which has been minusly influenced by the European culture. During the film, P ai transforms from an unwanted child to the novel settlement leader, while challenging the Maori customs through her curiosity, for example when she learns the sacred art of the taiaha. Koro, who disapproves of her actions, smashes a cup in his anger. Koro’s wife, Flowers, reprimands him, saying, â€Å"You king be the boss out there, tho I’m the boss in this kitchen”. Caro is addressing the gender barrier which exists in the Maori culture, an obstacle which Pai outperforms in her journey.\r\nDespite being reprimanded by Koro, Pai still retains great love for him, as seen in her speech on her ancestors, where she dedicates her oral communication to Koro. The initial long shot places violence on Pai, while the camera is positi unrivalledd at a low-angle, suggesting that she has gained authority and leadership. This shot symbolises iodine of the many emotional hurdles she has had to overcome in her inner journey. Moreover, her catharsis peck be related to Okonkwo’s moments of compassion, consequently highlighting the similarity between their journeys.\r\nSimilar to Okonkwo, Koro progresses on a journey, beginning at the height of power, with Caro using several symbols to suggest this, such as the whale tooth. The riding habit of sombre music and close-up shots of Koro in the scene where he loses the tooth emphasises his sorrow. In the following scene, Caro employs unlit lighting to highlight Koro’s melancholy, while he strokes the staff, symbolising that it is his last element of authority. Pai’s voiceover informs the audience on Koro’s plea for help and indicates a cutting in power and authority as Pai begins to assume her role as leader, â€Å" simply they weren’t listening, so I try”.\r\nKoro’s discovery of the whales allows him to undergo an epiphany and stay put on his journey. Caro has positioned the event during the night, with its dark connotations enhancing the negati ve atmosphere of the scene. Furthermore, Koro’s staff is wash away, symbolising that he has lost all of his power. Koro later realises the error of his ways and acknowledges Pai as their leader, â€Å"Wise leader, forgive me. I am just a fledgling new to flight”. Koro’s epiphany is thus one of the great differences between the two texts, as he is able to surpass the greatest obstacle in his journey and run for forward, whereas Okonkwo is unable to change, leading to his death.\r\nWorks Cited:\r\nâ€Å"Whale Rider”. Directed by Niki Caro (2003). [Film]”The Whale Rider”. Ihimaera, Witi (2003)\r\n'