Characters - Whale Rider ; Religious Studies
In whale rider, the whale symbolizes life and death. the whale you can see and feel the connection between Pai and the whale and the way. “Whale Rider”: Relationships. 18 06 Koro is very hard on his granddaughter Paikea. He desperately wants a male leader to succeed him. However, her grandfather and the current leader, Koro insists the role is reserved for a male. Pai loves her land, culture and traditions - she.
The rope is used symbolically in this scene. Koro begins this symbol and it continues throughout this scene. What do you think is the meaning behind the rope breaking and Pai fixing it?
Whale Rider (2002)
Analyse the scene from where Pai is making her emotional speech to her grandfather up until the ending youtube link here. How do editing and camera angles emphasise the relationship between Pai and her grandfather in this scene? In the scene with the beached whales Youtube link here we see Pai walking separately from the rest of the community and there is despair that the whales will not survive.
When Pai rides the whale this changes everything.
Analyse the way the scene has been put together — what camera shots and angles have been used? Is there a soundtrack? Does the CGI complement or detract from the viewing? How is the drama of the scene emphasised through sound, camerawork and editing in particular?
Half a page The angle of the camera shooting at the beached whale is a high angle shot and there is music and Pai is on the whale and she goes out to sea everything they do to try and rescues her it is not dine at normal pase it is done slower than usual and the is alot of special affects.
She first appears in this incarnation riding on a bicycle with her grandfather Koro, who has come to love her dearly.
Reel Inspiration: "Whale Rider" Retelling Our Stories to Include Heroic Girls
Living with her grandparents in a Whangara community on the eastern coast of New Zealand, she's named for a demi-god ancestor who arrived in New Zealand on the back of a whale. However, as she is reminded frequently, Pai is not the first-born son who has the chance to be the next Whangara chieftain.Whale Rider - TRAILER (2002)
According to tradition, no girl can even aspire to such a fate. Pai will prove that such thinking is hopelessly backwards, as she is, in spite of self-doubts shaped by her grandfather's prejudice, the future chieftain.
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Adapted by Caro from the novel by Maori author Witi Ihimaera, Whale Rider is part saga and part fairy tale, part kids' adventure tale and part poignant coming of age story, part girl power drama and part adult life lesson. It's all these things, as well as a rousing good time -- with beautiful beachscapes and stunning whales a-swimming imagery by cinematographer Leon Narbey plus some digital work and archival footageand yet maintains an intelligent, simple-seeming narrative structure.
Pai comes into her own by juggling expectations and desires: She also educates herself with regard to the skills of a Maori warrior. In this she is the conventional good and gallant girl, but also something of a bad girl, in the sense that boys get to be bad as they seek their heroic fates. She undertakes her education on the sly, because Koro teaches the skills class -- for boys only "When she was born," says her grandfather, "that's when things went wrong for us".
Still, she is gifted and eager, ensuring that it's only a matter of time before traditional expectations will be overturned. While the film is imperfect some plot turns are abrupt; the "aboriginal hoopla," as noted by the Village Voice's Michael Atkinson, "comes off as tribal ritual for its own sake"; the generally rousing tone doesn't detail the poor conditions or political difficulties the Ngati Konohi faceit has also inspired much devotion from critics and scholars of "indigenous film" recall that Harvey Keitel played a Maori tribesman in The Piano, meaning the movie image pickings are slim outside of New Zealand.
But even for its representational reductiveness, the film is akids' movie with something to say, looking at relationships between generations and individuals, across cultures and over oceans of bad feelings.
Porourangi returns from Europe, where he's been selling and showing his art, making a living off his translations of his traditional culture. Koro passes predictable judgment: Furious, Koro cruelly turns his anger at the nearest, easiest, most vulnerable target, Pai, who overhears his pointless and unintended derision from the next room "Take her with you!
She's no use to me! This crisis sparks a touching reunion between father and daughter, during which both parties assume her maturity beyond her years. As Caro puts it, children "say what they feel, and we've all felt that.