939:-style narrative plot in which true love triumphed over tribal conflict; the second were historically situated, playing with the notion of métissage to help construct a national identity". Imperial romances took an ethnographic approach, depicting the land of the Maoris as a paradise before the fall; national romances took a historical approach, recounting the quest for a utopia after the fall, that of New Zealand as the land of the Maoris. According to Blythe, the stories of Hinemoa or Te Ponga, with their noble savages and beautiful vahines, ending in inter-tribal marriages, were perfect examples of imperial romances, as attested by the fact that the Hinemoa legend was – after Méliès – the subject of several silent films.
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474:. He shot some sixty one-reel films there, at an average rate of two per week, characterized, according to Frank Thomson, by "an interesting mix of respect and negative stereotyping of Indian and Mexican protagonists". In 1911, after moving his studio to California, tired of shooting westerns and anticipating a desire for novelty on the part of the public, Gaston Méliès embarked on an original project: having accumulated enough films to supply distributors for a few months, he organized an expedition to the southern hemisphere, with a crew of some fifteen actors and technicians, planning to shoot both exotic fictions and documentary
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172:(young woman from Tahiti), on the one hand, and the assimilation of the Maori and the disappearance of their traditional culture, on the other. It also witnessed the emergence of themes underlying the portrayal of Maoris in cinema, divided between the legendary representation of an anhistorical Eden, the problems linked to integration between the descendants of settlers and indigenous people in New Zealand, and the tourist exploitation of Maori exoticism to promote the country.
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fiction films shot in New
Zealand, and were only distributed in the US, where they are reputed to have been lost. The three films were scripted by Edward Mitchell, an Australian novelist and journalist who had been part of the Méliès team, with the assistance of James Cowan. They were directed by Gaston Méliès, assisted by Pastor Bennett, and cinematographed by Hugh McClung.
826:
748:'s gallery of famous actors, surprising as it may seem at first glance, was "neither arbitrary nor unthinkable". It illustrated the American public's interest in the Maoris as an exotic tribe, but also the stereotypes associated with them, in particular the one, particularly attractive to the magazine's male readers, of the humble, submissive exotic beauty.
265:
958:, where the relationship between the "English trapper" and the beautiful Maori princess fitted into the second. Its screenplay was clearly designed to satisfy the public's taste for melodrama and the exotic, but also reflected the desire of the white settlers to be accepted by the natives and, consequently, the importance of James Cowan's contribution.
204:, a fortified village reconstituted on the initiative of the New Zealand government to promote tourism between 1907 and 1909, where Méliès filmed his fictions. In 1912, when she began a very brief film career, she was probably employed in the village of Whakarewarewa, where she performed traditional Maori dances for tourists, and had probably known
665:, published from 1911 onwards. As early as its second issue, this magazine devoted its first pages to a series entitled Personalities of the Picture Players, featuring full-page actor portraits designed to be cut out and pasted into albums by readers. In the May 1913 issue, this gallery featured a portrait of Maata Horonoma, in traditional
1147:) Following O'Reilly, Marc-Henri Piault analyzed these films as proceeding from a "fictional organization of reality", the fiction taking place in a "relatively realistic" setting and even allowing, according to this author, "glimpses of different aspects of village life and, of course, footage of impressive dances and war canoes". (
525:
Westerns. Méliès and his team arrived in New
Zealand on October 12, 1912, where they stayed for a month before leaving for Australia. Even before their arrival, the New Zealand press anticipated that he would be filming native dances "in appropriate landscapes", or even more precisely, that after a week in
561:, whom Méliès described as "a pastor, half-Maori blood, who hasda great influence on his fellows and lead a troupe of Maoris who did all sorts of exercises". Encouraged by Bennett's efficiency and the intelligence of the Maori actors the latter helped him direct, Méliès, who had just fired his director
446:, who was not particularly predisposed to a career in cinema, found himself widowed and unemployed; at the same time, his brother needed someone in New York to promote his films on the American market and combat counterfeiting; Gaston, aged 50, decided to move to New York and set up an American agency,
919:
Based on the positive reviews published by The Moving
Picture World, several authors felt that the three films were well received by the public, who appreciated their novelty. On the other hand, Jacques Malthète stated that all the films shot by Gaston Méliès in New Zealand and during his trip to the
680:
Maata
Horomona's presence in this magazine's celebrity gallery was doubly paradoxical. On the one hand, she was a very little-known actress at the time – so much so that the magazine saw fit to specify that she was "really an actress" – having only appeared in a very small number of short films, each
462:, which controlled film distribution but required its members to produce at least one one-reel film (about ten minutes) to supply exhibitors. With his brother Georges' output dwindling at the same time, Gaston Méliès was forced to start producing films himself in 1909. Having decided to specialize in
756:
Maata
Horomona appeared in the three fiction films produced by Gaston Méliès over a three-week period during his stay in New Zealand, but does not appear to have contributed to the documentaries shot during the same stay, shot simultaneously but by a different crew. These three films were the first
598:
Very good people, very intelligent, who seem to understand nothing when you explain to them what they have to do, and who carry out to the letter and with intelligence what is asked of them. Whereas
Mildred had to be lectured several times to make her understand what she had to do, all I had to do
352:
The show staged at the
Hippodrome was a great success, even if it was based on a misunderstanding: the New Zealanders thought they were being appreciated out of an interest in their culture, while the American public came to see a variation on a type of entertainment popular since the 19th century,
574:
When I saw the first negatives made with white people wearing Maori make-up, I realized that it wasn't right, and that was one of the big considerations that made me decide to get rid of part of the troupe in
Rotorua, where, incidentally, I'd worked almost exclusively with natives. And that's what
379:, conscious of their success. The men carried bone hatchets in their automobiles. The women wore high-heeled French shoes on their little feet, which a few weeks ago were dancing naked on the sand , then duck out to speak at some suffragette meeting about the antipodes' advanced social legislation.
524:
in August, where he stayed for around ten days and shot several films. He was "very disappointed that the natives were already too civilized to serve easily in the views", and was struck both by the women's morals, which he found "more than a little loose", and by the
Tahitians' enthusiasm for
304:
Maata
Horomona was part of the troupe of 27 men and 16 women who embarked on a 9-month tour in July 1909. The choice of members was the subject of conflicting considerations between the New Zealand intermediaries, including Bennett, and the American organizers: while the New Zealanders favored
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belonged, on condition that it only promoted production companies that were members. The actors featured in this way were not selected by the newspaper on the basis of their popularity, but the choice was made by the producers, who paid $ 200 a month for a guaranteed number of articles and
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of which sold around ten copies; on the other hand, she was a Maori actress, at a time when non-Caucasian roles were generally played by Caucasian actors wearing masks. In fact, Maata Horomona enjoyed the singular honor of being the first non-Caucasian actress to be included in
583:, whose uncle had negotiated with Méliès an unsuccessful project to distribute the latter's films in New Zealand, maintained that before making Maata Horonoma the star of his New Zealand fictions, Méliès first tried out his young wife Hortense, previously burnished with cocoa.
544:
The New Zealand government, keen to develop foreign tourism and aware of the project's potential spin-offs, lent its support. Walter Blow, head of the government tourism agency in Rotorua, whom Méliès found "perfect", put him in touch with a local specialist in Maori culture,
2507:
Pfluger, David; Quintana, Angel; Pons, Jordi (2018). "Maata Who … ?: The Native Maori Woman Who Made it into the Gallery of Picture Players in the Motion Picture Story Magazine in May 1913, Almost 11 Years Before Another Non-Caucasian Woman Followed in Her Steps".
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However, Jacques Malthète made no distinction between the commercial success of melodramas and travelogues. Yet, as Jennifer Lynn Peterson pointed out, it was the latter genre in particular that Gaston Méliès seems to have misjudged in the light of low public demand.
677:; and followed, in the June 1913 issue, by a brief reminder that Gaston Mélès was then touring the world, and then adding, in response to a reader's real or imaginary question: "Yes, Maata Horonoma is really an actress. Kia Ora (which means good luck in Maori)!"
603:
At the end of the shoot, Maata and the "Maori chief" presented Méliès with a few gifts: a carved gourd, a mat, a spear and a "Maori skirt". For his part, Méliès gave his star his photographic portrait and the sum of 2 pounds (just under 400 2022 dollars).
565:
and Bracken's wife, actress Mildred Bracken, as well as actress Betty-Irène Tracy and actors William Ehfe, Sam Weil and Henry Stanley, readily adapted to this new situation and decided to give a prominent place to local actors. Méliès later wrote from
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inhabitants, in dramatic or educational form, with his actors playing the lead roles and natives the supporting ones. He insisted that he wanted to avoid shooting in studios, but rather on natural sets, so that every detail would be true to life.
855:. The Motion Picture Story Magazine's account of the film gives them the following captions respectively: "Hinemoa receives gifts from visiting warriors", "Hinemoa swims to Tutanekai Island" and "tired and sweaty, Hinemoa seeks the therma bath"
357:. However, this preconception was contradicted by the cultural level of the Maoris: not only did they speak perfect English and demonstrated a mastery of Western manners, but the women in the troupe voted in their homelands, while American
909:: "Te Ponga, charmed by Puhihuia's dance, announces that he will now dance with her", "Puhihuia is allowed to fetch water from the spring for Te Ponga" and "Chief Te Ponga contemplates Puhihuia, forgetting the enemy's swift pursuit"
311:(young woman from Tahiti), wanted the arrival of "tanned beauties" to "titillate" the New York spectators and were ultimately disappointed that the troupe included only "two or three" young girls, among them Maata Horonoma.
215:
with Irish-Maori heritage. He played a significant role in the late nineteenth century in promoting Maori culture through Western-style theatrical shows. Hailing from the same village as Horomana, the future bishop of the
243:. On this occasion, the government agency for the promotion of tourism created in 1901 organized, with Bennett's help, a Maori reception for the American admiral and the two hundred officers accompanying him, featuring
721:, would then have the honor of symbolizing her ancient race. Maata poses at the window of the Hatupatu house in the village of Whakarewarewa. Gaston Méliès gives her a print of this portrait before she leaves.
165:
Maata Horomona's brief career illustrated several aspects of the New Zealand and international perception of Maori culture: the tension between the enduring stereotype of the beautiful, humble and easygoing
1457:
Tcherkézoff, Serge; Blanchard, Pascal; Bancel, Nicolas; Boëtsch, Gilles; Thomas, Dominic; Taraud, Christelle (2018). "La construction du corps sexualisé de la Polynésienne dans l'imaginaire européen".
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in front of the traditional Hatupatu meeting house and the carved gourd given by Maata Horomona to Méliès, which he sent to his son with the reels and whose photo the latter used to promote the shoot.
935:) shot by English, French and American directors from 1910 to 1920, then "national romances", shot by New Zealand directors from 1920: "the first were set in an eternity outside time, employing a
669:
dress and with a tattoo on her chin, accompanied by the words "Méliès", meaning that she was under contract to the Méliès studio, and that she was the native leading woman in a film entitled
224:. Marianne Schultz notes that these theatrical presentations reflected a convergence of Bennett's advocacy for the political assimilation of the Maori, the intentional tourist development in
220:, Bennett organized performances depicting Maori traditions and the Hinemoa legend. These shows, featuring choirs, tableaux vivants, and dance, were led by Maori troupes, notably the
928:
Now that these films have disappeared, silent film specialists are unable to observe either Méliès' direction or Horomata's acting, and their analyses are often limited to scripts.
1369:"'The Best Entertainment of Its Kind Ever Witnessed in New Zealand': The Rev. Frederick Augustus Bennett, the Rotorua Maori entertainers and the Story of Hinemoa and Tutanekai"
478:. Méliès explained to the press that he felt audiences were tired of cowboys and American prairie life, and that he wanted to innovate by presenting in film the customs of
1458:
150:. These films, all released in 1913 only in the United States and considered lost, were the first fiction films shot in New Zealand. Maata Horomona was also the first non-
515:
Gaston Méliès' film studio (seated right foreground) in San Antonio in 1911 and Méliès surrounded by part of his crew aboard the "Manuka" en route to Tahiti in 1912.
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According to Martin Blythe, the first films shot in New Zealand fell into two successive and distinct categories: first, "imperial romances" in Maori country (
717:
Photograph of Maata Horomona published in May 1913 in the 'Motion Picture Story Magazine's gallery of notable actors, eleven years before an Asian actress,
2572:
607:
After the departure of Méliès, Maata Horomona stopped making films. She married a Maori, Tureriao Gillies, gave him several children. and died in 1939 in
787:
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of November 7, 1909 described the intervention of three women from the troupe, described as "wild suffragettes". at a suffragist meeting at
766:
466:, for which the American public of the time had a strong appetite, Gaston Méliès took the highly innovative step of setting up a studio in
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was explain very slowly to Maa what I wanted her to do, and she would do it at once with the natural grace that one notices in her acting.
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dancers who performed for several months in New York, creating an interest in their culture. In 1912, she starred in three films shot by
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stars and their fans developed with the emergence of a specialized press aimed at moviegoers, one of the first of which was the monthly
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of November 7, 1909 reported the presence of six Maories, including Maata Horomona, at a meeting at the Hippodrome in support of the
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1849:"La gestion éco-touristique de la vallée de Whakarewarewa en Nouvelle-Zélande: promotion ou subversion de la culture māorie ?"
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were still fighting for a similar right. The American press embroidered on these paradoxes without altering the stereotypes of the
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was confused by the existence of these documentaries: in 1949, he described the three films as "fictionalized documentaries". (
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southern hemisphere sold poorly: only ten copies or so for each film, compared with 70 to 80 copies for the American westerns.
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549:, who acted as "general advisor and interpreter" and also contributed to the scripts. Cowan recommended that Méliès shoot in
673:. This feature was preceded, in the April 1913 issue, by a seven-page article by Peter Wade recounting the plot of the film
1422:
Werry, Margaret (2005). "The Greatest Show on Earth: Political Spectacle, Spectacular Politics, and the American Pacific".
1180:, released in France in September 1913, was actually shot in Australia, the French title confusing Maoris and Aborigines. (
1092:
954:, drawn from Maori legends, fitted into the first of Blythe's two categories, pointed out that the same was not true of
1030:
Maata Horomoma was, according to David Pfluger's research, the daughter of Miriata Te Koki, also known as Ngaamo Pera.
1978:
1928:
2298:
2083:
Anselmo, Diana W. (2019). "Bound by Paper: Girl Fans, Movie Scrapbooks, and Hollywood Reception during World War I".
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450:, to fulfill these two missions. Until 1908, his activity was essentially administrative, but in 1909 he joined the
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Fuller, Kathryn (1996). "Motion Picture Story Magazine and the Gendered Construction of the Movie Fan.".
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This apparent paradox can be explained by the way the magazine operated. It enjoyed the support of the
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the representation of an exotic form of savagery, attended in particular by anthropologists from the
255:, New York's largest stage, to invite a troupe of Maori dancers to perform there the following year.
2527:
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legitimacy and technical skills, the Americans had racial stereotypes in mind, notably that of the
252:
235:
This convergence was particularly evident when, in 1908, an American military fleet led by Admiral
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533:, "where local color was as abundant as it was easy to obtain", to shoot scenes inspired by the
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470:, not only because of the climate and sunshine, but also because of the availability of real
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1226:, p. 44.) and no explanation is given as to why the second photograph also illustrates
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A Harmony of Frenzy: New Zealand Performed on the Stage, Screen and Airwaves, 1862 to 1940
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paid an official visit to Rotorua to attend the inauguration of the thermal baths run by
131:
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Le Voyage autour du monde de la G. Méliès Manufacturing Company: juillet 1912 – mai 1913
1602:"The First Picture Show: Gaston Méliès's Star Film Ranch, San Antonio, Texas, 1910–1911"
228:
by the New Zealand government, and societal changes marked by interracial marriages and
30:
2453:
Making Film and Television Histories: The Making of the First New Zealand Feature Films
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director, was delighted with his Maori actors, especially Maata Horomona, who was his "
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One of his sons, Bom Gillies, is known as the last survivor of the Maori Battalion.
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185:
1515:"The Maoris in New York. "South Sea Sufragettes" : Some Yankee Embellishment"
229:
2299:"Filming the South Seas: Adventures of a Motion Camera Among the Pacific Islands"
541:, "no doubt" with the participation of Maoris and against a backdrop of geysers.
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989:
658:
467:
358:
2451:
Derby, Mark; Bennett, James E.; Beirne, Rebecca (2012). "Méliès in Maoriland".
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At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture
1182:
Malthète, Jacques (1993). "Les frères Méliès en 1913 : l'année terrible".
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Hockings, Paul; de Brigard, Émilie (1995). "The History of Ethnographic Film".
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Gaston Méliès and his Maori actors (including Maata Horomona on his right) at
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479:
344:
35:
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1151:"Vous avez dit fiction ? : À propos d'une anthropologie hors texte"
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Presences and Representation of Women in the Early Years of Cinema,1895-1920
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performances, whose coverage in the American press led the directors of the
181:
120:
50:
2486:
O'Reilly, Patrick (1949). "Le " documentaire " ethnographique en Océanie".
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O'Reilly, Patrick (1949). "Le " documentaire " ethnographique en Océanie".
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A Trip Through the North Island of New Zealand from Auckland to Wellington
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Naming the Other: Images of the Maori in New Zealand Film and Television
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Sexe, race et colonies: La domination des corps du XV siècle à nos jours
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Education in the School of Dreams: Travelogues and Early Nonfiction Film
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Curiously, the "sculpted gourd" is present in each of these photographs.
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The documentaries produced by Gaston Méliès in New Zealand are :
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Celebrity Culture and the American Dream: Stardom and Social Mobility
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553:, a reconstructed Maori village in the valley of the same name near
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Coming-of-Age Cinema in New Zealand: Genre, Gender and Adaptation
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83:
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The first photo is considered by Jacques Malthète to relate to
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Leaving San Francisco in July 1912, he made his first stop in
375:
Vigorous Maori warriors and New Zealand vahines strolled down
1120:
The Third Eye : Race, Cinema, and Ethnographic Spectacle
343:
The troupe that performed in New York, on its departure from
158:'s gallery of famous actors, eleven years before the second,
2464:
Fox, Alistair; Grant, Barry Keith; Radner, Hilary (2011).
192:, inhabited by the Maoris even before the nearby sites of
744:
As David Pfluger observed, Maata Horomona's inclusion in
586:
On the contrary, Méliès, who had now assumed the role of
1074:(1000-foot unit, released August 21, 1913 in the U.S.),
154:
actress, in 1913, to have her portrait published in the
208:
for several years, who recommended her as an actress.
1078:(1000 feet, released April 10, 1913 in the U.S.) and
1046:"Last survivor of the 28th Māori Battalion Knighted"
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For their part, Alistair Fox, Barry Keith Grant and
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and on the stage of the Hippodrome Theater, in 1909.
184:, a village located in the geothermal valley of the
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232:settlement in traditionally Maori-inhabited areas.
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1502:(in French). La Tour d’Aigues: Éditions de l'Aube.
1925:A History of the New Zealand Fiction Feature Film
1070:(119 feet, released April 24, 1913 in the U.S.),
130:In 1909, she was part of a troupe of traditional
1632:"Tired of Cowboys: Picture-makers in South Seas"
1066:(394 feet, released April 3, 1913 in the U.S.),
196:, a spa town developed from 1880 onwards, where
1945:"Gaston Mèliès and His Lost Films of Singapore"
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1965:
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1500:Kannibals et vahinés: imagerie des mers du Sud
1334:The Wonder Country: Making New Zealand Tourism
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2072:. Washington: Smithsonian Institution Press.
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1145:. Berlin: De Gruyter Mouton. pp. 18–19.
2526:(thèse de doctorat en histoire). Auckland:
2334:"How Chief Te Ponga Won His Bride (Melies)"
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200:lodged during his stay in the region, and
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2466:New Zealand Cinema: Interpreting the Past
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575:happens, or will happen, wherever we go.
16:New Zealand haka dancer and film actress
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1315:"Saddest day of the year' for survivor"
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119:dancer and film Actor, born in 1893 in
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1336:. Auckland: Auckland University Press.
299:'s Maori troupe (seated center), 1908.
2272:"The "Lost" Melies New Zealand Films"
2208:
2196:
557:, and put him in touch with Reverend
7:
2512:. Gérone: Fundacio Museu del Cinema.
2488:Journal de la Société des océanistes
2481:. Paris: Les Amis de Georges Méliès.
1903:Martin, Helen; Edwards, Sam (1997).
1099:Journal de la Société des océanistes
1044:Bathgate, Benn (December 31, 2021).
1353:Dictionary of New Zealand Biography
1032:Pfluger, Quintana & Pons (2018)
801:Maata Horomona in photographs from
180:Maata Horonoma was born in 1893 in
2573:20th-century New Zealand actresses
2351:Bush, W. Stephen (March 8, 1913).
2016:Hoffman, Doré (February 8, 1913).
1463:(in French). Paris: La Découverte.
1082:(1000 feet, released May 8, 1913).
355:American Museum of Natural History
111:, also known by her married name,
14:
2338:The Motion Picture Story Magazine
2270:New Zealand Film Archive (1982).
2160:The Motion Picture Story Magazine
2140:The Motion Picture Story Magazine
2116:The Motion Picture Story Magazine
1562:McInroy, Patrick (October 1979).
1313:Nicholas, Jill (April 23, 1916).
1301:Pfluger, Quintana & Pons 2018
1143:Principles of Visual Anthropology
907:The Motion Picture Story Magazine
905:, with the following captions in
2258:Derby, Bennett & Beirne 2012
2180:1895, revue d'histoire du cinéma
1766:Derby, Bennett & Beirne 2012
1241:Peterson, Jennifer Lynn (2013).
1157:(in French) (198–199): 159–190.
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952:How Chief Te Ponga Won His Bride
903:How Chief Te Ponga Won His Bride
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148:How Chief Te Ponga Won His Bride
728:Motion Pictures Patent Company
452:Motion Picture Patents Company
1:
2374:"Biographie de Gaston Méliès"
2176:"Biographie de Gaston Méliès"
1349:"Bennett, Frederick Augustus"
1117:Tobing Rony, Fatimah (1996).
746:Motion Picture Story Magazine
685:'s gallery of personalities.
683:Motion Picture Story Magazine
663:Motion Picture Story Magazine
156:Motion Picture Story Magazine
2477:; Malthète, Jacques (1988).
2422:Fox, Grant & Radner 2011
2353:"Loved by a Maori Chieftess"
2224:Fox, Grant & Radner 2011
2111:"Gallery of Picture Players"
1373:Melbourne Historical Journal
1176:On the other hand, the film
851:Photographs from the set of
805:(center with Ray Gallagher).
734:and to which Gaston Méliès'
2097:10.2979/filmhistory.31.3.06
2037:Sternheimer, Karen (2014).
1929:Manchester University Press
1905:New Zealand Film, 1912–1996
1178:Trahison au pays des Maoris
1149:Piault, Marc-Henri (2011).
1068:A Trip To the Waitomo Caves
2589:
2558:New Zealand film actresses
2517:Schultz, Marianne (2014).
2372:Malthète, Jacques (1990).
2320:Méliès & Malthète 1988
2242:Edinburgh University Press
2174:Malthête, Jacques (1990).
2133:Wade, Peter (April 1913).
1983:Reserve ank of New Zealand
1966:Méliès & Malthète 1988
1888:Méliès & Malthète 1988
1876:Méliès & Malthète 1988
1799:Méliès & Malthète 1988
1661:Méliès & Malthète 1988
1649:Méliès & Malthète 1988
1583:Méliès & Malthète 1988
1367:Schultz, Marianne (2011).
1332:McClure, Margaret (2004).
1276:Méliès & Malthète 1988
1224:Méliès & Malthète 1988
1220:Loved by a Maori Chieftess
956:Loved by a Maori Chieftess
803:Loved by a Maori Chieftess
737:American Star Film Company
287:Dance in honor of Admiral
222:Rotorua Maori Entertainers
218:Anglican Diocese of Waiapu
211:Bennett was a New Zealand
140:Loved by a Maori Chieftess
97:Loved by a Maori Chieftess
2297:Mitchell, Edmund (1913).
2276:FIAF Information Bulletin
1923:Babington, Bruce (2007).
1728:"Novelist and Journalist"
1606:Literature/Film Quarterly
1347:Bennett, Manu A. (1996).
946:, while considering that
657:The relationship between
28:
2358:The Moving Picture World
2023:The Moving Picture World
1943:Millet, Raphaël (2016).
1847:Bory, Stéphanie (2015).
1600:Thompson, Frank (1995).
2535:Slide, Anthony (1994).
2438:Blythe, Martin (1994).
2332:Laroche, Edwin (1913).
2018:"Melies in New Zealand"
1909:Oxford University Press
730:, the cartel headed by
241:Arthur Stanley Wohlmann
2236:Fox, Alistair (2017).
2155:"Answers to Inquiries"
1979:"Inflation calculator"
1520:The New Zealand Herald
1498:Boulay, Roger (2000).
1196:10.3406/1895.1993.1015
601:
579:New Zealand filmmaker
577:
381:
2537:Early American Cinema
2500:10.3406/jso.1949.1630
2468:. Bristol: Intellect.
1998:"Gaston Méliès, 1912"
1818:. September 17, 1912.
1752:. September 16, 1912.
1734:. September 13, 1912.
1716:. September 13, 1912.
1678:Wairarapa Daily Times
1564:"The American Méliès"
1247:Duke University Press
1125:Duke University Press
1111:10.3406/jso.1949.1630
1076:Maoris of New Zealand
1692:"South Sea Pictures"
1436:10.1353/tj.2005.0124
1163:10.4000/lhomme.22739
123:and died in 1939 in
115:, was a New Zealand
2528:Auckland University
1836:. February 6, 1917.
1785:. October 26, 1907.
1746:"Footlight Flashes"
1523:. October 21, 1909.
1412:, pp. 176–177.
1400:, pp. 128–131.
1072:In the Land of Fire
529:he would travel to
2135:"Hinemoa (Méliès)"
1698:. August 28, 1912.
1696:Poverty Bay Herald
1680:. August 24, 1912.
1674:"Theatrical Notes"
1638:. August 19, 1912.
1319:Rotorua Daily Post
1064:The River Wanganui
976:New Zealand portal
253:Hippodrome theater
2424:, pp. 18–20.
2163:: 148. June 1913.
1878:, pp. 41–42.
1862:10.4000/elohi.489
1714:New Zealand Times
1663:, pp. 41–45.
1651:, pp. 23–24.
1013:Frederick Bennett
535:legend of Hinemoa
206:Frederick Bennett
106:
105:
36:Still photography
2580:
2544:
2531:
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2513:
2503:
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2107:
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2013:
2007:
2005:
1994:
1988:
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1969:
1963:
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1932:
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1900:
1891:
1885:
1879:
1873:
1867:
1866:
1864:
1844:
1838:
1837:
1834:Grey River Argus
1830:"By "Movie Fan""
1826:
1820:
1819:
1812:"Personal Items"
1808:
1802:
1796:
1787:
1786:
1775:
1769:
1763:
1754:
1753:
1742:
1736:
1735:
1724:
1718:
1717:
1710:"Picture-Making"
1706:
1700:
1699:
1688:
1682:
1681:
1670:
1664:
1658:
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1646:
1640:
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1216:
1210:
1207:
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1199:
1174:
1168:
1166:
1146:
1138:
1114:
1093:Patrick O'Reilly
1089:
1083:
1060:
1054:
1053:
1040:
1034:
1028:
992:
987:
986:
985:
978:
973:
972:
971:
937:Romeo-and-Juliet
901:Set photos from
890:
878:
869:
840:
828:
819:
790:
778:
769:
706:
697:
632:
623:
504:
495:
442:' older brother
401:
392:
332:
323:
276:
267:
138:in New Zealand:
93:
33:
19:
2588:
2587:
2583:
2582:
2581:
2579:
2578:
2577:
2548:
2547:
2541:Scarecrow Press
2534:
2523:
2516:
2506:
2485:
2473:
2463:
2450:
2444:Scarecrow Press
2437:
2434:
2429:
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2420:
2416:
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2404:
2396:
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2109:
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2104:
2082:
2081:
2077:
2067:
2066:
2062:
2055:
2036:
2035:
2031:
2015:
2014:
2010:
1996:
1995:
1991:
1977:
1976:
1972:
1964:
1960:
1942:
1941:
1937:
1922:
1921:
1917:
1902:
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1894:
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1846:
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1659:
1655:
1647:
1643:
1630:
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1625:
1599:
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1589:
1581:
1577:
1569:Sight and Sound
1561:
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1533:
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1513:
1512:
1508:
1497:
1496:
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1472:
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1456:
1455:
1451:
1424:Theatre Journal
1421:
1420:
1416:
1408:
1404:
1396:
1392:
1366:
1365:
1361:
1346:
1345:
1341:
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1213:
1208:
1204:
1181:
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1171:
1148:
1140:
1135:
1116:
1096:
1091:Anthropologist
1090:
1086:
1061:
1057:
1043:
1041:
1037:
1029:
1025:
1021:
988:
983:
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848:
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832:
829:
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754:
724:
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714:
713:
710:
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655:
650:
649:
648:
640:
639:
636:
633:
624:
563:Bertram Bracken
518:
517:
516:
512:
511:
508:
505:
496:
436:
431:
430:
429:
426:20,000 uprising
409:
408:
405:
402:
393:
350:
349:
348:
340:
339:
336:
333:
324:
302:
301:
300:
284:
283:
280:
277:
268:
213:Anglican priest
178:
99:
91:
67:
62:
53:
48:
39:
24:
17:
12:
11:
5:
2586:
2584:
2576:
2575:
2570:
2565:
2560:
2550:
2549:
2546:
2545:
2532:
2514:
2504:
2483:
2475:Méliès, Gaston
2471:
2461:
2448:
2433:
2430:
2427:
2426:
2414:
2402:
2387:
2364:
2343:
2324:
2312:
2289:
2262:
2247:
2228:
2213:
2211:, p. 140.
2201:
2189:
2166:
2146:
2122:
2102:
2075:
2060:
2053:
2047:. p. 35.
2029:
2008:
1989:
1970:
1958:
1935:
1927:. Manchester:
1915:
1892:
1880:
1868:
1855:(7): 101–120.
1839:
1821:
1803:
1788:
1770:
1755:
1737:
1719:
1701:
1683:
1665:
1653:
1641:
1623:
1587:
1575:
1551:
1549:, p. 210.
1539:
1537:, p. 206.
1527:
1506:
1490:
1488:, p. 204.
1478:
1476:, p. 180.
1466:
1449:
1430:(3): 355–382.
1414:
1402:
1390:
1359:
1339:
1324:
1305:
1280:
1262:
1261:
1259:
1256:
1254:
1253:
1231:
1211:
1202:
1169:
1133:
1127:. p. 85.
1084:
1055:
1035:
1022:
1020:
1017:
1016:
1015:
1010:
1005:
1000:
994:
993:
979:
963:
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925:
922:
916:
913:
900:
899:
896:
895:
892:
885:
883:
880:
873:
871:
864:
861:
860:
859:
850:
849:
846:
845:
842:
835:
833:
830:
823:
821:
814:
811:
810:
809:
800:
799:
796:
795:
792:
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783:
780:
773:
771:
764:
761:
760:
759:
753:
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716:
715:
712:
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708:
701:
699:
692:
689:
688:
687:
654:
651:
642:
641:
638:
637:
634:
627:
625:
618:
615:
614:
613:
581:Rudall Hayward
514:
513:
510:
509:
506:
499:
497:
490:
487:
486:
485:
440:Georges Méliès
435:
434:Méliès actress
432:
411:
410:
407:
406:
403:
396:
394:
387:
384:
383:
382:
342:
341:
338:
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314:
313:
286:
285:
282:
281:
278:
271:
269:
262:
259:
258:
257:
177:
174:
109:Maata Horomona
104:
103:
94:
88:
87:
81:
77:
76:
73:
69:
68:
63:
59:
55:
54:
49:
45:
41:
40:
34:
26:
25:
23:Maata Horomona
22:
15:
13:
10:
9:
6:
4:
3:
2:
2585:
2574:
2571:
2569:
2566:
2564:
2561:
2559:
2556:
2555:
2553:
2542:
2538:
2533:
2529:
2522:
2521:
2515:
2511:
2505:
2501:
2497:
2493:
2489:
2484:
2480:
2476:
2472:
2467:
2462:
2458:
2454:
2449:
2445:
2441:
2436:
2435:
2431:
2423:
2418:
2415:
2412:, p. 17.
2411:
2406:
2403:
2400:, p. 10.
2399:
2394:
2392:
2388:
2383:
2379:
2375:
2368:
2365:
2360:
2359:
2354:
2347:
2344:
2339:
2335:
2328:
2325:
2322:, p. 49.
2321:
2316:
2313:
2308:
2304:
2300:
2293:
2290:
2285:
2281:
2277:
2273:
2266:
2263:
2260:, p. 44.
2259:
2254:
2252:
2248:
2244:. p. 17.
2243:
2240:. Édimbourg:
2239:
2232:
2229:
2226:, p. 18.
2225:
2220:
2218:
2214:
2210:
2205:
2202:
2199:, p. 40.
2198:
2193:
2190:
2185:
2182:(in French).
2181:
2177:
2170:
2167:
2162:
2161:
2156:
2150:
2147:
2142:
2141:
2136:
2129:
2127:
2123:
2118:
2117:
2112:
2106:
2103:
2098:
2094:
2090:
2086:
2079:
2076:
2071:
2064:
2061:
2056:
2054:9781317689683
2050:
2046:
2042:
2041:
2033:
2030:
2025:
2024:
2019:
2012:
2009:
2003:
1999:
1993:
1990:
1984:
1980:
1974:
1971:
1968:, p. 46.
1967:
1962:
1959:
1954:
1950:
1946:
1939:
1936:
1931:. p. 35.
1930:
1926:
1919:
1916:
1911:. p. 20.
1910:
1906:
1899:
1897:
1893:
1890:, p. 85.
1889:
1884:
1881:
1877:
1872:
1869:
1863:
1858:
1854:
1850:
1843:
1840:
1835:
1831:
1825:
1822:
1817:
1813:
1807:
1804:
1801:, p. 41.
1800:
1795:
1793:
1789:
1784:
1783:Auckland Star
1780:
1774:
1771:
1768:, p. 42.
1767:
1762:
1760:
1756:
1751:
1747:
1741:
1738:
1733:
1729:
1723:
1720:
1715:
1711:
1705:
1702:
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1693:
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1675:
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1657:
1654:
1650:
1645:
1642:
1637:
1633:
1627:
1624:
1619:
1615:
1611:
1607:
1603:
1596:
1594:
1592:
1588:
1585:, p. 10.
1584:
1579:
1576:
1571:
1570:
1565:
1558:
1556:
1552:
1548:
1543:
1540:
1536:
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1501:
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1335:
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1316:
1309:
1306:
1302:
1297:
1295:
1293:
1291:
1289:
1287:
1285:
1281:
1278:, p. 45.
1277:
1272:
1270:
1268:
1264:
1257:
1249:. p. 96.
1248:
1244:
1235:
1232:
1229:
1225:
1221:
1215:
1212:
1206:
1203:
1197:
1193:
1189:
1186:(in French).
1185:
1179:
1173:
1170:
1164:
1160:
1156:
1152:
1144:
1136:
1130:
1126:
1122:
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1112:
1108:
1104:
1101:(in French).
1100:
1094:
1088:
1085:
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1059:
1056:
1051:
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1039:
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1018:
1014:
1011:
1009:
1008:Gaston Méliès
1006:
1004:
1001:
999:
996:
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991:
980:
977:
966:
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949:
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944:Hilary Radner
940:
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789:
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763:
758:
751:
749:
747:
742:
741:photographs.
739:
738:
733:
732:Thomas Edison
729:
720:
719:Anna May Wong
705:
700:
696:
691:
686:
684:
678:
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668:
664:
660:
653:Unlikely star
652:
646:
645:Whakarewarewa
631:
626:
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584:
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551:Whakarewarewa
548:
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503:
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477:
473:
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460:Thomas Edison
457:
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415:
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295:and Reverend
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233:
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214:
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202:Whakarewarewa
199:
198:Gaston Méliès
195:
191:
187:
183:
175:
173:
171:
170:
163:
161:
160:Anna May Wong
157:
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2119:. May 1913.
2043:. Londres:
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998:James Cowan
990:Film portal
752:Filmography
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570:to his son:
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476:travelogues
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176:Haka dancer
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1949:Biblioasia
1907:. Oxford:
1779:"Untitled"
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527:Wellington
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190:geyserland
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2045:Routledge
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448:Star Film
438:In 1901,
182:Ohinemutu
152:Caucasian
121:Ohinemutu
51:Ohinemutu
38:, (1912).
2280:ProQuest
1732:Dominion
1636:Dominion
1614:ProQuest
1444:25069669
962:See also
924:Analysis
588:de facto
537:and the
464:Westerns
420:and the
365:and the
363:cannibal
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169:vahiné
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1853:ELOHI
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1019:Notes
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422:World
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