Gaston Méliès and his Wandering Star Film Company

In 1912-1913, movie pioneer Gaston Méliès, brother of Georges Méliès, did a ten month long trip around Asia-Pacific, shooting both documentaries and fictions on location in Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan. He wanted the “real” thing” he filmed, with the locals, being one of the first to give Polynesians, Maoris, Aborigines and Khmers a chance to appear on screen. His hybrid cinema dealt with questions of alterity, identity and representation. In 1912-1913, movie pioneer Gaston Méliès, brother of Georges Méliès, did a ten month long trip around Asia-Pacific, shooting both documentaries and fictions on location in Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan. He wanted the “real” thing” he filmed, with the locals, being one of the first to give Polynesians, Maoris, Aborigines and Khmers a chance to appear on screen. His hybrid cinema dealt with questions of alterity, identity and representation. In 1912-1913, movie pioneer Gaston Méliès, brother of Georges Méliès, did a ten month long trip around Asia-Pacific, shooting both documentaries and fictions on location in Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan. He wanted the “real” thing” he filmed, with the locals, being one of the first to give Polynesians, Maoris, Aborigines and Khmers a chance to appear on screen. His hybrid cinema dealt with questions of alterity, identity and representation. In 1912-1913, movie pioneer Gaston Méliès, brother of Georges Méliès, did a ten month long trip around Asia-Pacific, shooting both documentaries and fictions on location in Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan. He wanted the “real” thing” he filmed, with the locals, being one of the first to give Polynesians, Maoris, Aborigines and Khmers a chance to appear on screen. His hybrid cinema dealt with questions of alterity, identity and representation.