Narrative in Media Texts

In media narrative is how the story of a media text is constructed and how it relays its information to an audience. It is a powerful tool that can shape society's beliefs about themselves and others based on the stories we tell.

By having only a select few able to control and shape narratives in the media, this can become a dangerous thing as not only will people form their own beliefs influenced by this narrow portrayal of people and their stories, but the awareness and stories of historically marginized communities would not come to light and help influence how ethnic minorities are represented. For example, Hepi Mita made a documentary about his mother, a Maori filmmaker, which embodies her filmmaking philosophy and drive the central theme that Indigenous filmmaking is a battle against the establishment. It documents his mother's lifelong fight for the proper portrayal of Indigenous narratives on screen. If not for this film, it is doubtful that the rest of the world, outside Indigenous film circles, would ever come to know about her story.

Merata Mita's children show up in the film footage and we see how integral family was to her filmmaking process, them acting as a support system and crew. Interviews with the older siblings reveal the immense struggles they faced as a poor young family. First when Merata leaves an abusive husband and becomes a single mother, and later on her path to becoming a filmmaker. Landlords offered to trade sex for a place to live, her children were shunned at school because she was seen as a radical filmmaker, the New Zealand government targeted her for her politically charged films, and the police even attacked her 16 year old son. Her story is huge - her triumphs and various losses, but perhaps the most important idea throughout it is that she was simply there. She didn't focus on developing innovative techniques, like the jump-cut edits created by the French New Wave etc., but she tackled a very different kind of challenge. She fought in the cinematic trenches, advocating for accurate representation and documenting the other artists who were fighting for the same goals.

It is important for Indie filmmakers, outside established institutions, to be creating media and telling stories as they are able to provide a greater sense of community and belonging. As it is a tight-knit environment surrounding independent films, it is something that simply isn't associated with large production companies. These short films and documentaries bring more stories, that are underrepresented and not a priority in big institutions, to be broadcast to a wider audience, allowing for a broader range of ideologies and perceptions, deviating from the typical stereotypes that are seen in the media, and bringing a more realistic perspective to the media.

How narrative filmmakers are restoring cinematic narratives:

The lack of indigenous films is largely due to a lack of funding. In June 2017, Canada formed the Indigenous Screen Office to support Indigenous filmmakers. In the first year, development and production work began on 35 projects directed by Indigenous people. In Norway, the International Sami Film Institute supports the Indigenous people of Northern Europe. No such office exists in the United States.

A common belief in the contemporary US, often unspoken and unconscious, implies that everyone has a right to use Indians in the media as they see fit; everyone owns them. This sense of entitlement and expression of white privilege has a long history in national narratives, popular entertainment, marketing schemes, sporting worlds and self-improvement regimes. These images include portrayals of good and bad Indians (whether they help or don't help Europeans), as well as brave warriors, romantic princesses, and countless images of brutality and degradation. Such representations obliterate or mask the realities of tribal nations struggling to maintain their populations, lands, resources and sovereignty.

Taika Waititi is a Maori filmmaker who is succeeding at telling stories from an indigenous point of view. He made several indie films such as 'Two Cars', 'One Night', and 'Hunt for the Wilderpeople'. However, in 2017 he directed Thor: Ragnaarok, netting nearly $853 million, and is potentially going to direct a film in the star wars franchise. Hollywood took a chance on him, tapping into a unique voice with a narrative that was "undiscovered" by Non-Native standards which is garnering interest worldwide. Nearly 200 people attended two screenings of Indigenous short films put on by Sundance and Albuquerque in 2018 and "were really excited to see different films" says Maya Solis-Austin, senior manager of the Sundance Institute's Native American and Indigenous program.

Indigenous films are often only viewed at film festivals. Occasionally, the festivals feature a big-budget, feature-length "Indigenous" film - the kind with Indigenous actors of themes for set dressing but a white protagonist. the Native supporting actor generally exists for the white star to bounce ideas off, learn from and perhaps try to save.

In my opinion, Hollywood studios still have a long way to go in terms of accurately representing indigenous actors and having indigenous directors and filmmakers becoming more common. There will always be times where someone is underrepresented, but as society and audiences are starting to have more of a say in what media is produced and seen on screen, there will most likely be a starting of a balance, and this is something that has already started, for example with Taika Waititi who is now directing films within the Marvel and Star Wars franchises.