Chapter 5 begins by reading Willa Cather’s The Professor’s House as an experiment in cinematic projection, a phantasmagoric erasure of the means of projection. I compare Cather’s cartographic romance to that of Robert and Frances Flaherty’s Moana of the South Seas, the first film to be called “documentary.” Both the Flahertys and Cather mark US national space against the anachronism of the remote island. Spinning this view around, I tell the story of Fialelei, who served as producer and translator for the Flahertys in Sāmoa. She also accompanied them to the United States, and her voyage embodies the Samoan principle of the Vā, or “space-between.” This Oceanian counterpoint provides a new position for studying the role of cinematic fantasy in isolating the “primitive” from “civilized,” and projecting the former onto the “insular.”