This chapter explains some sort of feminist transformation from Snow White to Moana. There are four waves of feminist philosophy which can help us understand the progressing role of Disney princesses since Snow White's debut in 1937. Disney's three waves of princesses reflect the waves of feminism from which they emerge. In subtle but profound ways, Disney princesses have evolved as each wave of feminism has crashed upon the shores of culture. They shift people's focus from reinforcing patriarchy, to (...) challenging it, and finally turning it on its head, redefining their very understanding of what it means to be feminine and masculine. The implication is that equality is not based on making women and men equal to one another, but rather on making them balanced within themselves. Going forward, people can only imagine what the next batch of Disney princesses will offer. (shrink)

Christ figures and holy fools are familiar religious symbols often repeated and adapted in film making. They have historically most often been depicted as male, and among the slowly growing body of female filmic christ figures, they are usually depicted as adult White women. In this article, I consider two films, Niki Caro’s Whale Rider and Disney’s Moana, in which young Indigenous girls are depicted within this trope. I engage in close reading of the films, in relation to Anton (...) Karl Kozlovic’s theoretical framework for structural characteristics of the filmic christ figure, as I focus my discussion here on the christological symbolism of the two female child figures in these films, while also folding this back to the long-standing religious and literary tradition of the holy fool. The aim of this article is to contribute to the growing body of critical and theoretical work about the representation and reading of women and religion in film. (shrink)

Disney's computer‐animated musical film, Moana tells the tale of Moana, the daughter of Tui, the chief of a Polynesian island, Motunui. Bound by the legendary tradition of her ancestors, Moana is expected to follow her lineage and take over as chief when she grows up. As the authors dig beneath the surface level of the story, they find a metaphorical and philosophical level to Moana's journey. The story of Moana has layers. First, it is literally (...) a tale of Moana's voyage outside beyond the reef so that she can restore the heart of Te Fiti and save the people of Motunui. She closes this tale with a happy ending as she simultaneously lives the life that she freely chooses, becomes the leader of her people (by saving them) as her parents wanted, and honors her tradition insofar as she restores her ancestors' tradition of wayfinding. (shrink)

Animation has employed film stars throughout its long history; however, there have been few studies that have examined the relationship between film stardom and animation. This article explores the...

This research parallels Tongan academic Hūfanga ‘Okusitino Māhina’s assertions in the 1994 Contemporary Pacific article Our Sea of Islands, that ‘People are thought to walk forward into the past and walk backward into the future, both taking place in the present, where the past and the future are constantly mediated in the ever-transforming present’ alongside those of Professor Terry Irwin and fellow Transition Designers in which they discuss the use of Indigenous Wisdom to enable designing for the Long Now as (...) defined by Brand in his 1999 book The Clock for the Long Now: Time and Responsibility. In the 2015 Transition Design Monograph Irwin asserts that, ‘Transition Design draws on knowledge and wisdom from the past to conceive solutions in the present with future generations in mind’. This paper draws on the pre-industrial wisdom of indigenous knowledge, specifically that of the Pacific regions, Moana, who have lived and designed sustainably in-place for generations to illustrate the value it holds for the formulation of sustainable and sustaining futures. (shrink)

This paper follows the Salt-Wind and subterraneous freshwater flows in Hawaiian poet Brandy Nālani McDougall's collection of poetry The Salt-Wind/ka Makani Pa'akai. McDougall illustrates that in order to begin again in the aftermath of American imperialism and environmental destruction, one must return to the salt-water and sub-surface waterings, and the ancestral connections and voices therein who beckon her (and others) home. In this way, her work is situated within contemporary movements within the Pacific, presently coming together in deimperializing efforts to (...) restructure a future for the Pacific that is ‘beyond empires’ (Fujikane, 2012: 191). Selecting two poems in particular from McDougall's collection—'Hāloanaka’ and ‘On a Routing Slip from the U.S. Postal Service, Pukalani Branch'—I illustrate how they chart the ancestral, cosmological, and historical flows of kinship between Kānaka Maoli and their near and distant earthly and spiritual relations. In particular, the water that passes through the taro plant infuses all manner of kinship, economic, and social relations in Hawai'i, connecting Kānaka Maoli to their ancestor Hāloa, and to land, sea, and each other, as well as—through the formative oceanic movements of Moana Nui—to other Pacific islanders. A thirst for water—sacred, imaginative, mobile, past, present—underwritten by an assertion of Hawaiian sovereignty, language, and tradition flows just beneath the surface of McDougall's words. (shrink)