87:. "Fourth Cinema" is described as indigenous cinema created by indigenous filmmakers for indigenous audiences. From the inception of the New Zealand film industry up until the 1970s, cinematic portrayals of the Maori were almost exclusively crafted by the Pakeha, or white European New Zealanders. Maori culture was frequently overlooked and reduced to various myths and fantasies that reflected colonial sentiments of desire for subjugation and control. The 1970s marked a turning point in the nation's history, as the treatment of the Maori came under increasing scrutiny. This shift was partly influenced by the emergence of international movements such as the women's liberation movement, anti-racist movements, and LGBT movements. However, it was primarily driven by the large-scale post-war migration of Māori from their rural and coastal ancestral territories into the Pākehā-dominated urban areas. Moving into these new urban areas made it challenging for many Māori to pass on their cultural traditions to the next generation and consequently, many began to lose their roots and felt pressured to integrate into Pākehā society. This paved the way for the Māori Renaissance, a transformative movement aimed at expressing the Māori perspective on their challenges and preserving their identity and traditions. Author Stephen Turner writes that the hill in Mita’s film
72:
express themselves through various art forms, such as drawing and image. This experience led to Mita's interest in filmmaking. She initially started her filmmaking career by working with film crews as a liaison person, with her first documenta. Through these jobs, she discovered that foreign filmmakers had the access to tell the stories of Māori people, where she then decided to become a filmmaker herself. Mita started her technical education by having jobs as a sound assistant and a sound recordist. Over time, people started to take note of her contributions as part of the film crew. The experience eventually led her into a lengthy career in the film and television industry. Later on, she moved to Hawaii in 1990 and taught documentary film making at the
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for eight years, where she began using film and video to reach high school students characterised as "unteachable", many of them Māori and
Pacific Islander. She learned that the film and video equipment helped her students with their education as it was a form of oral storytelling, where they could
212:
Mita's influence among indigenous filmmakers internationally was considerable, through film organisations and film festivals in which she mentored, such as the
Sundance Film Festival's Native Film Initiative, the National Geographic All Roads Indigenous Film Festival, the Corporation for Public
94:
Through her work, Mita aimed to make films that were about decolonisation and indigenisation. She made films that represented Māori people and their culture, which were specifically made for Māori audiences. These films were made as a way to encourage young Māori and indigenous filmmakers after
91:(1988) " has filmic agency. I see it as a central figure and actor, and the vehicle for the “mauri” (the principle or force of life) of the film's title Fourth Cinema is a medium through which things pass, enabling people and place to be recollected and connected in the viewing experience."
239:
in 1989, Flaherty
Seminar's "Leo Dratfield Award for Commitment and Excellence in Documentary" in 1996, Taos Film Festival's "Mountain Award for excellence, commitment, and innovation" in 1999, the Te Waka Toi, part of the
268:
Mita had seven children: Rafer, Richard, Rhys, Lars, Awatea, Eruera and Hepi. Her fourth son, Lars, died as an infant at the age of 11 months. Her son Hepi Mita from her longtime relationship with
252:
for her services to the film industry. Mita was also nominated for Asia
Pacific Screen Awards' "Best Children's Feature Film" with Ainsley Gardiner, Cliff Curtis and Emanuel Michael, for the film,
260:
in 2011. National
Geographic All Roads Festival's "Merata Mita Award" is an annual award that recognises a "Legacy of Outstanding Storytelling" was established in Mita's honour in 2010.
878:"A documentary about pioneering Māori filmmaker Merata Mita whose career has spanned 20 years and whose films represent a unique account of New Zealand social and political history."
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109:(1983), about the violent clashes between anti-apartheid protesters and the police during the controversial 1981 South African Springboks rugby tours in New Zealand, and
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103:(1972). An accomplished documentary director and producer for more than 25 years, Mita made landmark documentary films such as,
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Turner, Stephen (2013). "9. Reflections on Barry
Barclay and Fourth Cinema". In Hokowhitu, Brendan; Devadas, Vijay (eds.).
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Turner, Stephen (2013). "9. Reflections on Barry
Barclay and Fourth Cinema". In Hokowhitu, Brendan; Devadas, Vijay (eds.).
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Mita was the first indigenous woman and the first woman in New
Zealand to solely write and direct a dramatic feature film:
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Some of Mita's recognition and awards included the Amiens
International Film Festival's "MRAP Award" for her documentary,
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27:(19 June 1942 – 31 May 2010) was a New Zealand filmmaker, producer, and writer, and a key figure in the growth of the
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998:"Sundance Institute Announces New Merata Mita Fellowship For Indigenous Artists and 2016 Recipient – sundance.org"
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83:(1988). Her filmmaking has been classified as "Fourth Cinema," a term that was made by New Zealand filmmaker,
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47:. She was the third of nine children and had a traditional rural Māori upbringing. She was from the Māori
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256:, in 2010, and for Aotearoa Film and Television Awards' "Best Director - Television Documentary" for
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viewing these films, which portrayed their people authentically. In 1972, she was a co-director with
1432:“Sundance Institute Announces New Merata Mita Fellowship For Indigenous Artists and 2016 Recipient.”
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Peters, G. (2007). "Lives of their own: Films by Merata Mita". In I. Conrich and S. Murray (Eds.),
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Broadcasting's consortium
Pacific Islanders in Communications, and through her teaching at the
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for native or indigenous filmmakers globally at any stage of their career or production.
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produced a documentary on his mother's cinematic legacy which was released in 2018.
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Mita directed or collaborated on numerous films and television shows, including:
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Merata: How Mum Decolonised the Screen Film (Trailer) – 2018 at NZ On Screen
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Mita died suddenly on 31 May 2010, after collapsing outside the studios of
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In 1998, Mita was the subject of a documentary in the television series,
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50 Years of New Zealand Television: 1 - From One Channel to One Hundred
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50 Years of New Zealand Television: 2 - The Whole World’s Watching
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1160:. Department of the Prime Minister and Cabinet. 31 December 2009
794:(pp. 103–120). Detroit: Wayne State University Press.
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Mita played the role of 'Matu' in the New Zealand feature film
124:(2001) documented the life and work of well-known Māori artist
48:
1313:"Special Screenings of Saving Grace - Te Whakarauora Tangata"
244:
Te Tohu Toi Ke – "Making a difference" Award (2009), and the
200:. On 28 November 2018, the documentary was accepted into the
922:"Three new documentaries funded for screens big and small"
404:(2004) – Producer, Second Unit Director, Role: Fred’s wife
1132:"He poroporoaki kia Merata Mita (Tribute to Merata Mita)"
217:. In 2016, the Merata Mita Fellowship was created by the
194:
Te Taki A Merata Mita – How Mum Decolonised The Screen
947:"2019 SUNDANCE FILM FESTIVAL: 112 FEATURES ANNOUNCED"
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Manatū Taonga, the Ministry for Culture and Heritage
435:
Women - Māori Women in a Pākehā World (Episode Four)
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The Fourth Eye: Māori Media in Aotearoa New Zealand
720:
The Fourth Eye: Māori Media in Aotearoa New Zealand
1364:http://www.jstor.org/stable/10.5749/j.ctt4cggdb.13
722:. University of Minnesota Press. pp. 166–167.
235:, in 1983, Rimini Film Festival's "Best Film" for
543:50 Years of New Zealand Television: 7 - Taonga TV
1439:“Merata Mita: the godmother of indigenous film.”
1211:"Merata Mita: the godmother of indigenous film"
1460:
1362:. University of Minnesota Press. pp.162–178.
8:
1596:Companions of the New Zealand Order of Merit
1233:"Pioneering Kiwi filmmaker Merata Mita dies"
889:, filmarchive.org.nz; accessed 6 June 2016.
250:Companion of the New Zealand Order of Merit
192:announced funding for a biographical film,
183:Rangatira: Merata Mita – Making Waves
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1346:Framework: The Journal of Cinema and Media
1118:"Creative New Zealand, Te Waka Toi Awards"
732:: CS1 maint: location missing publisher (
631:Framework: The Journal of Cinema and Media
153:(1983), which was directed by her husband
515:(1997) – Interviewer, Consultant Producer
495:Kaleidoscope - NZ Cinema, the Past Decade
364:(1990) – Director, sound designer, writer
465:New Streets - South Auckland, Two Cities
1412:Patu! background at the NZ Film Archive
579:
1340:Lamche, Pascale; Mita, Merata (1984).
900:"Mita's life to be celebrated on film"
725:
625:LAMCHE, PASCALE; MITA, MERATA (1984).
422:Merata: How Mum Decolonised the Screen
1564:Saving Grace - Te Whakarauora Tangata
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519:Rangatira: Merata Mita - Making Waves
416:Saving Grace - Te Whakarauora Tangata
342:(1983) – Role: Matu, Cultural Advisor
332:The Bridge: A Story of Men in Dispute
258:Saving Grace - Te Whakarauora Tangata
7:
1601:Indigenous filmmakers in New Zealand
1199:. gisborneherald.co.nz, 12 May 2019.
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567:Hautoa Mā! The Rise of Māori Cinema
388:(2001) – Director, writer, producer
356:(1988) – Director, writer, producer
161:, and featured veteran Māori actor
1209:Webb-Liddall, Alice (2 May 2019).
531:Frontseat - Series Two, Episode 10
14:
1540:The Shooting of Dominick Kaiwhata
521:(1998) – Project Advisor, Subject
483:New Streets - Auckland Fa’a-Samoa
368:The Shooting of Dominick Kaiwhata
328:(1981) – Co-director, co-producer
304:(1979) – Co-director, co-producer
39:Mita was born on 19 June 1942 in
16:New Zealand filmmaker (1942–2010)
1651:New Zealand women film producers
1631:New Zealand women film directors
1621:New Zealand Māori schoolteachers
1378:Considering Merata Mita's Legacy
1407:Watch Patu clip at NZ On Screen
1184:. e-tangata.co.nz, 12 May 2019.
449:(1980-1981) – Director Producer
316:(1980) – Co-director, co-editor
441:Karanga Hokianga ki o Tamariki
215:University of Hawaiʻi at Mānoa
116:(1980), about the eviction of
74:University of Hawaiʻi at Mānoa
1:
1646:University of Hawaiʻi faculty
527:(1998) – Second Unit Director
185:, directed by Hinewehi Mohi.
120:from their traditional land.
1342:"Interview with Merata Mita"
1288:"Merata Mita | NZ On Screen"
1196:Telling their mother’s story
1027:"Merata Mita | NZ On Screen"
855:"Loose Enz - The Protesters"
627:"Interview with Merata Mita"
596:"Merata Mita | NZ On Screen"
310:(1979) – Director, co-editor
177:Documentaries on Mita's work
1616:New Zealand Māori actresses
771:MERATA MITA INTERVIEW PT. 2
749:MERATA MITA INTERVIEW PT. 3
662:MERATA MITA INTERVIEW PT. 1
509:(1992) – Executive Producer
443:(1979) – Director, producer
396:(2004) – Executive Producer
370:(1993) – Director, Producer
350:(1983) – Director, producer
334:(1982) – Co-director, Sound
248:, when she was appointed a
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1626:New Zealand schoolteachers
1611:New Zealand film producers
1606:New Zealand film directors
477:Loose Enz - The Protestors
322:(1981) – Community liaison
1441:The Spinoff, May 2, 2021.
1402:Biography at NZ On Screen
537:Kete Aronui - Merata Mita
382:(1997) – Director, writer
376:(1996) – Director, writer
204:in their 2019 programme.
1386:Enjoy Public Art Gallery
1181:Merata — a son’s tribute
501:Koha - Nga Pikitia Māori
302:The Hammer and the Anvil
169:, a teleplay written by
128:. She also directed the
1393:A Magnificent Salvage:
1391:Brannavan Gnanalingam,
1158:"New Year Honours 2010"
455:(1980-1985) – Presenter
208:International influence
1527:Bastion Point: Day 507
1398:, Lumiere Reader, 2011
972:"Tribute: Merata Mita"
885:11 August 2009 at the
792:New Zealand Filmmakers
459:One of those Blighters
314:Bastion Point: Day 507
225:Recognition and awards
202:Sundance Film Festival
809:5000 Ways to Love You
525:The Magnificent Seven
246:2010 New Year Honours
97:Ramai Te Miha Hayward
1641:Ngāi Te Rangi people
1519:Shorts/Documentaries
1437:Alice Webb-Liddall,
1430:Sundance Institute.
1261:"1981 Shooting Back"
1136:Creative New Zealand
1084:Aitken, Ian (2012).
1051:Aitken, Ian (2012).
682:Aitken, Ian (2012).
412:(2010) – Co-producer
242:Creative New Zealand
176:
165:. She also acted in
1636:Ngāti Pikiao people
135:for hip-hop artist
1656:People from Maketu
1475:Films directed by
1348:(25): pages 2–11.
1292:www.nzonscreen.com
1031:www.nzonscreen.com
951:Sundance Institute
600:www.nzonscreen.com
461:(1982) – Role: Sue
219:Sundance Institute
31:screen industry.
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557:(2010) – Producer
485:(1982) – Research
467:(1982) – Research
418:(2011) – Director
393:The Land Has Eyes
188:In October 2014,
63:Filmmaking career
43:in New Zealand's
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569:(2016) – Subject
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497:(1987) – Subject
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429:Television shows
424:(2018) – Subject
308:Karanga Hokianga
282:Māori Television
198:Māori Television
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1142:25 November
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1580:Categories
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114:: Day 507
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296:Films
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