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Barclay was a rare filmmaker, writer, and thinker whose seminal filmwork makes him a founding figure of Indigenous cinema. His own underexamined films, alongside those of Merata Mita, establish a template for thinking about Fourth Cinema as a distinct filmic mode of address. Fourth Cinema is the eye of a Fourth World of history.
Barry Barclay was born on 12 May 1944 in Masterton, New Zealand. He was a director and writer, known for Ngati (1987), The Feathers of Peace (2000) and Autumn Fires (1977). He died on 17 February 2008 in Omapere, New Zealand.
Jul 11, 2009 · The Camera on the Shore.: Directed by Graeme Tuckett. With Barry Barclay, Owen Hughes, Martyn Sanderson. Career-spanning documentary on groundbreaking Aotearoa indigenous filmmaker Barry Barclay, structured around an interview with Barclay shortly before he died in 2008.
Overview. The late Barry Barclay [Ngāti Apa] was one of New Zealand's most respected filmmakers. He directed such landmark titles as TV series Tangata Whenua, award-winning film Ngati, and The Feathers of Peace. Barclay was also a longtime campaigner for the right of indigenous people to tell their own stories to their own people.
Comments. The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen.
About the Book. Images of Dignity is the first major study of the films of Barry Barclay, one of the most important film makers in New Zealand cinema history, and a major indigenous film maker world-wide. It analyzes all Barclay’s film and television work, including the groundbreaking Tangata Whenua television series and the feature films The ...
Barry Barclay: A Thinker for Our Time of storytelling has a long and fraught history for those peoples framed as marginal to majority culture. This fraught context includes persistent repetitions of 'spectacles of Indigenous presence' that empty out the lived context and complex realities of Indigenous peoples. In his conclusion, Murray cites ...
