O le Lagi. Ma le Lagi. Ma le Lagi: Moana Films and the Re-imaging of Belonging in the Diaspora

Abstract

Through the practice-led component of the thesis, the film "The Return", this study examines how a ‘Moana’* worldview has influenced the film form of Moana filmmakers** . As a focus on films made by Moana creatives increase (Strong, 2025, para. 5), the literature has historically explored the politics of representation on screen. Rather than only interrogating Moana representations in the film text, this research considers the vā (relationality) between filmmaker and film to investigate how it informs creative decisions made during the creative process.

The Samoan tradition of su’ifefiloi (Ellis, 1998; Figiel, 2006; Tielu, 2016), is employed as a framework to thread together the gafa (genealogy) of "The Return" with constructions and explorations of Moana identity, and how these manifest in the themes and aesthetics of Moana films. Tala fa’a’aiga is used as a secondary framework that emerged in response to the su’ifefiloi as a methodology. These frameworks allow for a combination of Moana creativity and spirituality that developed the short film "The Return" and explored a theoretical approach to analysing the Moana films "O le Tulāfale" (Tamasese, 2011), "Hiama" (Freshwater, 2021), "Vai "(Arahanga et al., 2019) and "O Tamaiti" (Urale, 2019). These films are explored through the lens of the Moana values of vā, spirituality and/or fa’aaloalo (respect) to understand how film form is shaped by the identity reference of the filmmakers.

The research adds to the canon of Moana film by considering whether a Moana film grammar is emerging. The films discussed have had at least one key creative stage located and funded by a government organisation outside the filmmaker's ancestral homeland. The study seeks to situate Moana film within the Moana rather than under the umbrella of diasporic or accented cinema. By doing so, the research reveals how Moana films can nurture the vā between mafaufau (mind), tino (body) and agaga (soul) for both the Moana filmmaker and the audience.

The thesis consists of three components: a narrative short film, a contextualising exegesis that includes tala fa’a’aiga, which contextualise and position the creative researcher(s). The central component of the work is "The Return", with the exegesis and tala fa’a’aiga being produced in response to the creative practice. The study is significant as it is the first PhD study in Aotearoa New Zealand by a practising Moana screenwriter and director to specialise in Moana film.

*‘Moana’ is the Samoan word for "deep sea" or "deep water" (Milner, 1992, p. 146). In this research, it replaces the label Pacific, which was introduced by Portuguese explorer Ferdinand Magellan in 1521 (National Ocean Service, n.d., para. 2). **'Moana filmmakers', as used in this research, follows the convention of identifying those of ‘Pacific’ heritage working in ‘Pacific’ art in Aotearoa New Zealand.