3.3 Media Studies Internal Assessment 2013
Topic: The portrayal of young Maori men in the media in New Zealand.
Introduction: For my achievement standard in which we are required to study the representation of a group in society in the media I have chosen to study male Maori youths. I have chosen three different media texts to study, the Vodafone "Do Your Thing Better" ad campaign, the NZ Transport Agency 'Legend' ad campaign and Boy the 2010 feature length film.
Hypothesis: The media texts I have selected portray a mainly negative viewpoint of young male Maori, reinforcing cultural stereotypes of poor educational achievement, low socio-economic living conditions and chaotic family structures leading to substance abuse and violence.
How are young male Maori presented in society today?
For media to be credible to viewers, it must reflect reality in its content. However, because of media's role in shaping and influencing opinion, some would argue it has a responsibility to be fair and socially responsible in the representation of groups. This is especially true in the case of publically funded media, where tax payers have a vested interest in not encouraging negative stereotypes to perpetuate a self fulfilling prophecy as represented by different media. There are many examples in advertisements, film and television that influence the viewer to believe what they are illustrating if it is repeated over a period of time. It is typical in the media for Maori men aged 15-24 to be shown to be living in a low-income area with a poor vocabulary. They typically involve themselves in a number of illegal activities such as drinking or drug taking. Although this stereotype may be true in some cases, this has shone a negative light for the larger population of young Maori men who may not be living in these conditions or partaking in this behaviour.
On 23 October 2011, a new drink-driving campaign was launched. Youth drink-driving is one of the largest causes of death and injuries in New Zealand roads. Each year, young drivers cause nearly half of all alcohol-related road crashes. ('Legend' Advertisment: http://www.nzta.govt.nz/about/advertising/drink-driving/legend.html (Accessed 15/09/2013)) The advertisement shows a large group of teenage Maori men and women at a party drinking. The campaign aimed to encourage people who drink and witness another 'mate' want to drive, to take responsibility and speak up. Even with this positive message that has been chosen to portray, there are many negative consequences of the advertisement because of the stereotype that the characters and directors have created. The goal of this advertising is to not criticize the drinking culture that New Zealand has, but instead acknowledge the feelings a young man might have around speaking up when a friend is going to drive drunk. Shock tactics are often used in government messages such as drink driving, but the intelligence and the understanding of quirky 'kiwi humour' from the audience was crucial to making this advertisement successful. Obviously their target audience is the younger generation through the use of slang and language choice typically spoken by the younger generation.
The central character is based on the representation of a stereotypical drink driver who is a male under the age of 24 which makes up 40% of crash statistics('Legend' Advertisment: http://www.nzta.govt.nz/about/advertising/drink-driving/legend.html (Accessed 15/09/2013)) in New Zealand. He tells his fellow friend who is attempting to drink drive to stop, and just 'crash' at his house. The colloquial language that is used such as 'bro' teamed with the well known exaggerated Maori accent which almost sounds illiterate creates a stereotype and a allusion to the audience because of this character. The character also speaks very slow, taking a number of seconds to voice his opinion. This creates the character to look dimwitted and stupid completely living up to the stereotype of Maori male academic underachievement. Instead of viewing a young Maori male as intelligent and capable of quick decision making, the advertisement negatively places the young man to be characterised as a drunken slow person. The environment that the young Maori is placed in further lives up to the expectations that society has placed on this group of people. The creators of the advertisement rely on the audiences knowledge on different stereotypes in society to understand the message they are attempting to get across. The setting of a lower socio-economic home with mismatched curtains and furniture, home made lighting and no wallpaper puts the boy in an 'unsafe' and undesirable environment. The audience looks at this and it reinforces in their mind their attitudes towards this group in society as coming from underachieving chaotic families that make them reckless and poor. Furthermore, when the main character 'internalizes his complicated situation' he is created to be unintelligent when the ghost of his dead drunk driving friend offers him his 'ghost chips' and he acts genuinely angry that he cant eat the food of a supernatural ghost - adding reinforcement to the stereotype of the 'young and dumb' Maori male.
Why has this stereotype occurred in today's society?
This advertisement campaign uses these stereotypes in a humourous way to get recognition from their target audience, whose views they are trying to influence. However they represent only a portion of young Maori today, and can have a negative effect on how we view the wider Maori population. Also in fairness, binge drinking culture and drunk driving is not limited to young Maori male. The audience can easily be sucked into believing this situation that is placed on the advertisement especially since it is distributed from the New Zealand Transport Agency which is attached to government departments. It would be believed that what the government is illustrating to wider New Zealand would be informative and correct. Even though this advertisement has the intentions of being humourous yet informative at the time with the plot line slightly exaggerated, it would be incredibly risky for the government to portray an image of a group in their society that is incorrect. The audience after watching this advert, could believe that all young male Maori men are idiotic and would commit drunken driving acts. This is not necessarily the case for most teens and this advert only adds to the harsh stereotype that society places on young Maori men. The audience can only assume that since the government distributed this message, all facts and figures are correct and that the scene portrayed on screen is a regular occurrence in New Zealand. Young male Maori have not been represented in a positive light in the media making them look like drunken idiots that have a low intelligence and low income level.
Hypothesis: The media texts I have selected portray a mainly negative viewpoint of young male Maori, reinforcing cultural stereotypes of poor educational achievement, low socio-economic living conditions and chaotic family structures leading to substance abuse and violence.
How are young male Maori presented in society today?
For media to be credible to viewers, it must reflect reality in its content. However, because of media's role in shaping and influencing opinion, some would argue it has a responsibility to be fair and socially responsible in the representation of groups. This is especially true in the case of publically funded media, where tax payers have a vested interest in not encouraging negative stereotypes to perpetuate a self fulfilling prophecy as represented by different media. There are many examples in advertisements, film and television that influence the viewer to believe what they are illustrating if it is repeated over a period of time. It is typical in the media for Maori men aged 15-24 to be shown to be living in a low-income area with a poor vocabulary. They typically involve themselves in a number of illegal activities such as drinking or drug taking. Although this stereotype may be true in some cases, this has shone a negative light for the larger population of young Maori men who may not be living in these conditions or partaking in this behaviour.
On 23 October 2011, a new drink-driving campaign was launched. Youth drink-driving is one of the largest causes of death and injuries in New Zealand roads. Each year, young drivers cause nearly half of all alcohol-related road crashes. ('Legend' Advertisment: http://www.nzta.govt.nz/about/advertising/drink-driving/legend.html (Accessed 15/09/2013)) The advertisement shows a large group of teenage Maori men and women at a party drinking. The campaign aimed to encourage people who drink and witness another 'mate' want to drive, to take responsibility and speak up. Even with this positive message that has been chosen to portray, there are many negative consequences of the advertisement because of the stereotype that the characters and directors have created. The goal of this advertising is to not criticize the drinking culture that New Zealand has, but instead acknowledge the feelings a young man might have around speaking up when a friend is going to drive drunk. Shock tactics are often used in government messages such as drink driving, but the intelligence and the understanding of quirky 'kiwi humour' from the audience was crucial to making this advertisement successful. Obviously their target audience is the younger generation through the use of slang and language choice typically spoken by the younger generation.
The central character is based on the representation of a stereotypical drink driver who is a male under the age of 24 which makes up 40% of crash statistics('Legend' Advertisment: http://www.nzta.govt.nz/about/advertising/drink-driving/legend.html (Accessed 15/09/2013)) in New Zealand. He tells his fellow friend who is attempting to drink drive to stop, and just 'crash' at his house. The colloquial language that is used such as 'bro' teamed with the well known exaggerated Maori accent which almost sounds illiterate creates a stereotype and a allusion to the audience because of this character. The character also speaks very slow, taking a number of seconds to voice his opinion. This creates the character to look dimwitted and stupid completely living up to the stereotype of Maori male academic underachievement. Instead of viewing a young Maori male as intelligent and capable of quick decision making, the advertisement negatively places the young man to be characterised as a drunken slow person. The environment that the young Maori is placed in further lives up to the expectations that society has placed on this group of people. The creators of the advertisement rely on the audiences knowledge on different stereotypes in society to understand the message they are attempting to get across. The setting of a lower socio-economic home with mismatched curtains and furniture, home made lighting and no wallpaper puts the boy in an 'unsafe' and undesirable environment. The audience looks at this and it reinforces in their mind their attitudes towards this group in society as coming from underachieving chaotic families that make them reckless and poor. Furthermore, when the main character 'internalizes his complicated situation' he is created to be unintelligent when the ghost of his dead drunk driving friend offers him his 'ghost chips' and he acts genuinely angry that he cant eat the food of a supernatural ghost - adding reinforcement to the stereotype of the 'young and dumb' Maori male.
Why has this stereotype occurred in today's society?
This advertisement campaign uses these stereotypes in a humourous way to get recognition from their target audience, whose views they are trying to influence. However they represent only a portion of young Maori today, and can have a negative effect on how we view the wider Maori population. Also in fairness, binge drinking culture and drunk driving is not limited to young Maori male. The audience can easily be sucked into believing this situation that is placed on the advertisement especially since it is distributed from the New Zealand Transport Agency which is attached to government departments. It would be believed that what the government is illustrating to wider New Zealand would be informative and correct. Even though this advertisement has the intentions of being humourous yet informative at the time with the plot line slightly exaggerated, it would be incredibly risky for the government to portray an image of a group in their society that is incorrect. The audience after watching this advert, could believe that all young male Maori men are idiotic and would commit drunken driving acts. This is not necessarily the case for most teens and this advert only adds to the harsh stereotype that society places on young Maori men. The audience can only assume that since the government distributed this message, all facts and figures are correct and that the scene portrayed on screen is a regular occurrence in New Zealand. Young male Maori have not been represented in a positive light in the media making them look like drunken idiots that have a low intelligence and low income level.
How are young male Maori presented in society today?
The 2010 film 'Boy' directed by Taika Waititi is the highest grossing New Zealand film and has been successful overseas because of its unique Kiwi feel and the offbeat charm( http://www.rottentomatoes.com/m/boy_2012/ - Accessed on 17/09/13) of the central male protagonist. Waititi's vision in making the film was simple in giving people hope about a loved one and touching on coming of age. The obvious success is due to the familiar New Zealand landscapes viewed and the quirky talented actors but for some Maori audiences, they were unsure if the other viewers were laughing with or at Maori. From Waititi's intention of the film can be blurred through underlying themes of abandonment and poverty.
Even though Boy has a large fan base with it being the most successful New Zealand film ever winning many international awards, there are some negative outcomes of the film that will have lasting effects on how New Zealand and International society views young Maori males. The representation of the character 'Boy' is meant to be who is played by James Rolleston may seem like an innocent and simple character but the wider implications of his character create a negative view on the group he is placed in by society. His character lives on the east coast of the North Island, a poor largely Maori populated place in New Zealand which illustrates their rural poverty. The mismatched dismantled nature of Boy's family home and those around it show the environment that they live in which is very unfavourable for the viewer especially because of the lack of technology that the home has compared to others of its time. Boy has not seen his father (Alamein) in seven years because he is serving a jail sentence. Boy along with his brother and seven other cousins live in his tiny home with their grandmother looking after him. This illustrates a very unstable living environment to the audience. The children who some are under the age of 11 are left to fend for themselves as their grandma goes away to attend a funeral in another township with Boy left in charge who has barely hit puberty yet himself. This furthermore shows the unstableness of the Maori family with the absence of authority with the only legal guardian leaving minors home alone with no money. Drugs are another feature of the film that are treated with light intention, but have a heavy implication on the audience. A marijuana crop is grown on a farm in the area and is in full display of the young children and Boy picks some leaves to pleasure his father not knowing the consequences of the drug. Marijuana is also a normality for other children in the area with one of Boy's friends working as a picker of the drug for her father. This exemplifies that drugs are commonplace in Maori society especially for children where it is seen as a normality at a young age. To the audience, this overexposure of drugs in front of children reflects badly upon young Maori males implying that they are 'doomed' from the beginning of their lives with them being involved in illegal activities. Another negative view of the Maori men in the film is the delusional and 'dreamer' nature of the three central male Maori characters (http://www.nzmediastudies.org.nz/articles/introsmithmercier1301.pdf - Accessed on 18/09/13) Boy, Alamein (the father) and Rocky (Boy's brother) all live a life of fantasy and delusion that can reflect negatively on the audience where they believe that all Maori have an over stimulated imagination. The audience can only imagine what the future holds for these characters with their non realistic outlook on life. Boy has false expectations of his father believing that he is a war hero and has met the superstar Michael Jackson. Rocky is even more delusional with the belief that when his mother died when giving birth to him, he inherited mental superpowers where he can blow objects up with his mind. The main influence of these young boy's lives is Alamein who's larger than life persona starts a gang of three people and involves himself in childish behaviour like fake wars on the beach with driftwood.
Why has this stereotype occurred in today's society?
The audience can only draw ambiguous conclusions of young Maori culture from these examples because each character is a representation of Maori culture with their obvious accents, and the location of where they live in the country. The audience can only assume that a Maori director would depict a Maori family in a realistic light, being sensitive to his own culture but in turn it actually created young male Maori in New Zealand to look unreliable, delusional and low class. Not only did this stereotype get distributed to its local nation, but also internationally having negative affects on traditional culture in New Zealand. Typical Maori culture consists of tribes, warrior mentality and a sense of belonging. This is the image that is sent overseas for tourism showing the Maori culture to be something positive, native and interesting for the world to see. This film contradicts this notion making overseas audiences second guess the nature of New Zealand. All in all, the representation of young male Maori in the film Boy can have two effects on the audience: a sense of sympathy for the young boys that are left alone on a farm full of drugs and lawlessness, or a reinforcement of the social stigma that Maori youth are all troublesome characters that do not have a successful future ahead of them. Waititi's intentions of the film remain up in the air creating debate about the negative and positive effects of his portrayal of young male Maori men.
The 2010 film 'Boy' directed by Taika Waititi is the highest grossing New Zealand film and has been successful overseas because of its unique Kiwi feel and the offbeat charm( http://www.rottentomatoes.com/m/boy_2012/ - Accessed on 17/09/13) of the central male protagonist. Waititi's vision in making the film was simple in giving people hope about a loved one and touching on coming of age. The obvious success is due to the familiar New Zealand landscapes viewed and the quirky talented actors but for some Maori audiences, they were unsure if the other viewers were laughing with or at Maori. From Waititi's intention of the film can be blurred through underlying themes of abandonment and poverty.
Even though Boy has a large fan base with it being the most successful New Zealand film ever winning many international awards, there are some negative outcomes of the film that will have lasting effects on how New Zealand and International society views young Maori males. The representation of the character 'Boy' is meant to be who is played by James Rolleston may seem like an innocent and simple character but the wider implications of his character create a negative view on the group he is placed in by society. His character lives on the east coast of the North Island, a poor largely Maori populated place in New Zealand which illustrates their rural poverty. The mismatched dismantled nature of Boy's family home and those around it show the environment that they live in which is very unfavourable for the viewer especially because of the lack of technology that the home has compared to others of its time. Boy has not seen his father (Alamein) in seven years because he is serving a jail sentence. Boy along with his brother and seven other cousins live in his tiny home with their grandmother looking after him. This illustrates a very unstable living environment to the audience. The children who some are under the age of 11 are left to fend for themselves as their grandma goes away to attend a funeral in another township with Boy left in charge who has barely hit puberty yet himself. This furthermore shows the unstableness of the Maori family with the absence of authority with the only legal guardian leaving minors home alone with no money. Drugs are another feature of the film that are treated with light intention, but have a heavy implication on the audience. A marijuana crop is grown on a farm in the area and is in full display of the young children and Boy picks some leaves to pleasure his father not knowing the consequences of the drug. Marijuana is also a normality for other children in the area with one of Boy's friends working as a picker of the drug for her father. This exemplifies that drugs are commonplace in Maori society especially for children where it is seen as a normality at a young age. To the audience, this overexposure of drugs in front of children reflects badly upon young Maori males implying that they are 'doomed' from the beginning of their lives with them being involved in illegal activities. Another negative view of the Maori men in the film is the delusional and 'dreamer' nature of the three central male Maori characters (http://www.nzmediastudies.org.nz/articles/introsmithmercier1301.pdf - Accessed on 18/09/13) Boy, Alamein (the father) and Rocky (Boy's brother) all live a life of fantasy and delusion that can reflect negatively on the audience where they believe that all Maori have an over stimulated imagination. The audience can only imagine what the future holds for these characters with their non realistic outlook on life. Boy has false expectations of his father believing that he is a war hero and has met the superstar Michael Jackson. Rocky is even more delusional with the belief that when his mother died when giving birth to him, he inherited mental superpowers where he can blow objects up with his mind. The main influence of these young boy's lives is Alamein who's larger than life persona starts a gang of three people and involves himself in childish behaviour like fake wars on the beach with driftwood.
Why has this stereotype occurred in today's society?
The audience can only draw ambiguous conclusions of young Maori culture from these examples because each character is a representation of Maori culture with their obvious accents, and the location of where they live in the country. The audience can only assume that a Maori director would depict a Maori family in a realistic light, being sensitive to his own culture but in turn it actually created young male Maori in New Zealand to look unreliable, delusional and low class. Not only did this stereotype get distributed to its local nation, but also internationally having negative affects on traditional culture in New Zealand. Typical Maori culture consists of tribes, warrior mentality and a sense of belonging. This is the image that is sent overseas for tourism showing the Maori culture to be something positive, native and interesting for the world to see. This film contradicts this notion making overseas audiences second guess the nature of New Zealand. All in all, the representation of young male Maori in the film Boy can have two effects on the audience: a sense of sympathy for the young boys that are left alone on a farm full of drugs and lawlessness, or a reinforcement of the social stigma that Maori youth are all troublesome characters that do not have a successful future ahead of them. Waititi's intentions of the film remain up in the air creating debate about the negative and positive effects of his portrayal of young male Maori men.
These two examples above from the media portray the group of young male Maori in New Zealand and International society as being unfortunate, unsophisticated, dimwitted and economically challenged. Each media example has their own implications, but holistically there are many consequences of the forming of this negative stereotype through media.
The social consequences of portraying mainly negatively based stereotypes of young male Maori is to stigmatise them as a group. The potential flow-on effect of lack of expectation and respect for this group in normal daily life, can result in alienating them at an impressionable age and putting up extra barriers for those who want to live productive mainstream lives. In the real world this means limiting aspirations to achievement at school, employment prospects and access to housing. While young Maori are overrepresented in the academic non achievement statistics, criminal population stats, (while being 7% of the population) - it's unfair to them to ignore the obvious success stories - Taika Waititi for example. A rebalancing of media to include more positive portrayals has got to be in NZ's best interest both for social harmony and the economic benefits.
The social consequences of portraying mainly negatively based stereotypes of young male Maori is to stigmatise them as a group. The potential flow-on effect of lack of expectation and respect for this group in normal daily life, can result in alienating them at an impressionable age and putting up extra barriers for those who want to live productive mainstream lives. In the real world this means limiting aspirations to achievement at school, employment prospects and access to housing. While young Maori are overrepresented in the academic non achievement statistics, criminal population stats, (while being 7% of the population) - it's unfair to them to ignore the obvious success stories - Taika Waititi for example. A rebalancing of media to include more positive portrayals has got to be in NZ's best interest both for social harmony and the economic benefits.
In what ways have young male Maori been represented in the media in the past?
There is an obvious sense of continuity in how young male Maori have been represented in the past, matching up to today's expectations that society has on this group. The film 'Once Were Warriors' directed by Lee Tamahori in 1994 explored the darker side of New Zealand life by examining the disintegration of a Maori family unit weighed down by poverty, substance abuse, physical and sexual violence and criminal behaviour. The media text is known for its regeneration of harsh Maori stereotypes that critically analyse the negative affects on Maori culture. The name itself 'Once Were Warriors' comments on the decline culturally of Maori's former glorified 'warrior' past.( http://www.victoria.ac.nz/seftms/about/staff/attachments/Smith__o__The_Cultural_Politics_of_Once_Were_Warriors.__Rev.pdf - Accessed on 18/09/2013) The two young teenage Maori children of Jake and Beth Heke, Nig and Boogie both epitomize the two directions that Tamahori believes that Maori children can go on in life. Nig Heke chooses to get initiated into a gang in their area and eventually gets covered in large intimating Maori tattoos on his face and body. He also partakes in illegal behaviour and becomes a target from the police. The gang is Maori orientated consisting of young and old men that call each other 'brothers' after nearly beating Nig to death in initiation. The youngest son Boogie also has an unstable start to his life where he has some minor criminal convictions such as robbery that ends up sending him to court, then ultimately a foster home after government officials discover his unstable home life. His unruly and angst filled personality ends up getting authorities to try and help save his young life by attempting to set him straight in the foster home. Both boys are seen to be yearning for the acceptance of outsiders and within their groups by committing outrageous acts.
Why has this stereotype occurred in the past?
In the film presents the flaws in the backward focussed 'tribal' Maori culture not only in the older generation but also their effects on younger generation that asks the audience to look at the complexities about society's structure. Does the actions of parents affect those of kids? Because of the violent nature of the film, the audience mainly consists of adults most likely parents that have the potential to have young Maori boys. The film uncovers the behind the scenes lives of two teenage characters that has the ability to uncover truths about what teenagers are getting up to in their spare time, or if they feel troubled in their young, mouldable lives. The genre of 'Once Were Warriors' which is drama and one that is based on the 1990 novel by Alan Duff who's own experiences shaped the themes in it make the audience believe what they are being shown. The older generation in New Zealand society became aware of the actions of the younger generation through this film. The only two teenagers represented in the film commit petty crime as an outlet of their stress and also spend much of the film attempting to find some sort of acceptance. To adults, these characters represent all teenagers in the Maori society because of their previous reputation. The film does not attempt to 'sugar coat' social issues in contemporary New Zealand youth, but instead shine a light on problems normally concealed from 'average New Zealanders' allowing private staged access into gang life and into the foster home style of living that many young kiwis have to may or may not choose to deal with every day. The film opened up the eyes of many especially also to those who are not of Maori descent that may not have had a good understanding of Maori culture. This film represents Maori youth as violent delinquents that do not choose to take the orthodox route in life by attending school and living above the law but instead views a reality that becomes a stereotype from the older audience's viewing. No amount of cultural considerations have been taken into account in the film making the audience question the 'warrior like' Maori traditions. The representation of young Maori males in Tamahori's 'Once Were Warriors' view only two examples of teens that leave the adult audience horrified by the events that youth get up to making a negative stereotype on the younger Maori male generation. No doubt the film maker felt that this was a story needing to be told, and maybe he was hoping that by exposing the worse practices of a sub-set of the Maori population, he would stimulate action to solve these problems. This is an example of how this same group I have studied has been presented in the past showing continuity in their stereotype which is created by directors that has been even further developed by other recent media texts with the same reaction over time of audiences.
There is an obvious sense of continuity in how young male Maori have been represented in the past, matching up to today's expectations that society has on this group. The film 'Once Were Warriors' directed by Lee Tamahori in 1994 explored the darker side of New Zealand life by examining the disintegration of a Maori family unit weighed down by poverty, substance abuse, physical and sexual violence and criminal behaviour. The media text is known for its regeneration of harsh Maori stereotypes that critically analyse the negative affects on Maori culture. The name itself 'Once Were Warriors' comments on the decline culturally of Maori's former glorified 'warrior' past.( http://www.victoria.ac.nz/seftms/about/staff/attachments/Smith__o__The_Cultural_Politics_of_Once_Were_Warriors.__Rev.pdf - Accessed on 18/09/2013) The two young teenage Maori children of Jake and Beth Heke, Nig and Boogie both epitomize the two directions that Tamahori believes that Maori children can go on in life. Nig Heke chooses to get initiated into a gang in their area and eventually gets covered in large intimating Maori tattoos on his face and body. He also partakes in illegal behaviour and becomes a target from the police. The gang is Maori orientated consisting of young and old men that call each other 'brothers' after nearly beating Nig to death in initiation. The youngest son Boogie also has an unstable start to his life where he has some minor criminal convictions such as robbery that ends up sending him to court, then ultimately a foster home after government officials discover his unstable home life. His unruly and angst filled personality ends up getting authorities to try and help save his young life by attempting to set him straight in the foster home. Both boys are seen to be yearning for the acceptance of outsiders and within their groups by committing outrageous acts.
Why has this stereotype occurred in the past?
In the film presents the flaws in the backward focussed 'tribal' Maori culture not only in the older generation but also their effects on younger generation that asks the audience to look at the complexities about society's structure. Does the actions of parents affect those of kids? Because of the violent nature of the film, the audience mainly consists of adults most likely parents that have the potential to have young Maori boys. The film uncovers the behind the scenes lives of two teenage characters that has the ability to uncover truths about what teenagers are getting up to in their spare time, or if they feel troubled in their young, mouldable lives. The genre of 'Once Were Warriors' which is drama and one that is based on the 1990 novel by Alan Duff who's own experiences shaped the themes in it make the audience believe what they are being shown. The older generation in New Zealand society became aware of the actions of the younger generation through this film. The only two teenagers represented in the film commit petty crime as an outlet of their stress and also spend much of the film attempting to find some sort of acceptance. To adults, these characters represent all teenagers in the Maori society because of their previous reputation. The film does not attempt to 'sugar coat' social issues in contemporary New Zealand youth, but instead shine a light on problems normally concealed from 'average New Zealanders' allowing private staged access into gang life and into the foster home style of living that many young kiwis have to may or may not choose to deal with every day. The film opened up the eyes of many especially also to those who are not of Maori descent that may not have had a good understanding of Maori culture. This film represents Maori youth as violent delinquents that do not choose to take the orthodox route in life by attending school and living above the law but instead views a reality that becomes a stereotype from the older audience's viewing. No amount of cultural considerations have been taken into account in the film making the audience question the 'warrior like' Maori traditions. The representation of young Maori males in Tamahori's 'Once Were Warriors' view only two examples of teens that leave the adult audience horrified by the events that youth get up to making a negative stereotype on the younger Maori male generation. No doubt the film maker felt that this was a story needing to be told, and maybe he was hoping that by exposing the worse practices of a sub-set of the Maori population, he would stimulate action to solve these problems. This is an example of how this same group I have studied has been presented in the past showing continuity in their stereotype which is created by directors that has been even further developed by other recent media texts with the same reaction over time of audiences.
Explain the impact of this stereotype on other groups in New Zealand society. (Cultural Consequences)
The negative stereotypes outlined above of young male Maori has had a negative effect on not only their own group, but has lasting effects on other groups in society. For example, it could be argued that the older generation of Maori can see this group as letting their culture down in their ignorance to keeping their customs alive as a minority in New Zealand today. Maori only make up 7% of the population in country where they 100% dominated not long ago in the scheme of New Zealand history. According to the online New Zealand encyclopaedia (http://www.teara.govt.nz/en/1966/maori-social-structure/page-3 Accessed on 19/09/13) explaining Maori modern society, keeping their Te Reo Maori culture is a priority because they are a slowly diminishing group in society. A warrior mentality is crucial for men to have and has always been something that Maori have held an important place for. Pride and revenge and are two values that are believed that every Maori should possess in order to stay strong in life. Over the years, Maori chiefs and warriors such as Hone Heke (who asserted his dominance over Pakeha settlers by cutting down a flag staff in Kororareka in the 1800s) and King Potatau (kick starter of the Maori King movement) have been celebrated for their brave and loyal feats that serve to the traditional Maori culture. The stereotype that young Maori boys ruin a sacred warrior type image has the potential to anger this older group in society because of the beliefs they have. Also according to the article about Maori social structure, young Maori have the tendency to cut themselves out of Maori culture and majority do not know the native language. The stereotype that this group in society hold in the media has the potential to dishearten or enrage older traditional Maori groups that have fears that their culture will eventually die out because the younger generation is shown to have no interest in their sacred beliefs. In all three media texts discussed above, they show examples of the disregard that young male Maori in the media have for their culture, or show that they depict a negative portrayal of their culture. In the 'ghost chips' advert the main character of a teenage Maori boy is shown to be idiotic, in the film 'Boy' all three male characters are shown to be delusional and economically challenged and in the film 'Once Were Warriors' both young adult male Maori characters find themselves on the wrong side of the law. From all three of the media texts I have studied, there are no positive implications of their representations. This negativity affects other groups in society because of the reputation that it creates Te Reo culture to have and questions the demographic position that they hold in society.
The negative stereotypes outlined above of young male Maori has had a negative effect on not only their own group, but has lasting effects on other groups in society. For example, it could be argued that the older generation of Maori can see this group as letting their culture down in their ignorance to keeping their customs alive as a minority in New Zealand today. Maori only make up 7% of the population in country where they 100% dominated not long ago in the scheme of New Zealand history. According to the online New Zealand encyclopaedia (http://www.teara.govt.nz/en/1966/maori-social-structure/page-3 Accessed on 19/09/13) explaining Maori modern society, keeping their Te Reo Maori culture is a priority because they are a slowly diminishing group in society. A warrior mentality is crucial for men to have and has always been something that Maori have held an important place for. Pride and revenge and are two values that are believed that every Maori should possess in order to stay strong in life. Over the years, Maori chiefs and warriors such as Hone Heke (who asserted his dominance over Pakeha settlers by cutting down a flag staff in Kororareka in the 1800s) and King Potatau (kick starter of the Maori King movement) have been celebrated for their brave and loyal feats that serve to the traditional Maori culture. The stereotype that young Maori boys ruin a sacred warrior type image has the potential to anger this older group in society because of the beliefs they have. Also according to the article about Maori social structure, young Maori have the tendency to cut themselves out of Maori culture and majority do not know the native language. The stereotype that this group in society hold in the media has the potential to dishearten or enrage older traditional Maori groups that have fears that their culture will eventually die out because the younger generation is shown to have no interest in their sacred beliefs. In all three media texts discussed above, they show examples of the disregard that young male Maori in the media have for their culture, or show that they depict a negative portrayal of their culture. In the 'ghost chips' advert the main character of a teenage Maori boy is shown to be idiotic, in the film 'Boy' all three male characters are shown to be delusional and economically challenged and in the film 'Once Were Warriors' both young adult male Maori characters find themselves on the wrong side of the law. From all three of the media texts I have studied, there are no positive implications of their representations. This negativity affects other groups in society because of the reputation that it creates Te Reo culture to have and questions the demographic position that they hold in society.