Contemporary New Zealand Cinema: From New Wave to by Ian Conrich, Stuart Murray

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By Ian Conrich, Stuart Murray

New Zealand cinema burst onto the worldwide level within the Seventies and has maintained its high-profile overseas presence with such movies as Whalerider, the Lord of the jewelry trilogy and as soon as have been Warriors. modern New Zealand Cinema is an astute research of this attention-grabbing and the main thorough ebook to be had on a colourful filmmaking tradition. The ebook explores the undefined, questions of aesthetics and shape, kingdom and identification during the complete variety of filmmaking in New Zealand. It additionally highlights particular contexts, together with Maori, documentary and brief filmmaking, literary variations, the improvement of the nationwide movie fee, advertising and marketing and censorship, in addition to questions of bicultural kinfolk, spirituality, masculinity and disability--that have a created a cinema of world value. incorporated is a finished filmography that information all New Zealand function and tv movies.

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NZFC Annual Report (1998), 9. Z. Film Rethinks Funding’, Hollywood Reporter, 21 July 1998; and Peter Calder, ‘Homegrown Pics Not Hits’, Variety, 16 October 2000, 108. Paul Smith, ‘Industry Needs New Direction’, Variety, 13 October 1997, 167; and Peter Calder, ‘Commish Turns Org Around’, Variety, 19 October 1998, 66. NZFC Annual Report (1997), 7–8. See Ruth Harley, ‘Cultural Capital and the Knowledge Economy’, speech delivered at the 1999 Public Service Senior Management Conference, at 36 90. 91.

Dermody and Jacka, Screening of Australia, 197–99. 27. See John O’Shea, ‘Sheat–Anchor at the Helm’, Onfilm 2, no. 6 (October 1985): 12–13. 28. Bruce Jesson, ‘Commission with a New (Bank) Role’, Onfilm 2, no. 5 (August 1985): 14. 29. NZ Film 26 (September 1985): 16; Sue May, ‘Gascoigne: He Has Ways’, Onfilm 2, no. 6 (October 1985): 14–19. 30. David B. A. thesis (Victoria University, 1987), 66. 31. New Zealand Film Commission Act (1978, no. 61), 8. This Act closely follows the model of the Australian Film Development Corporation Act (1970).

23 In this context, touting the regional advantages of a New Zealand film industry could signify a commitment to multiculturalism, an acknowledgement of new economic and political priorities, or even a way of relegating regional concerns to the realm of the merely cultural. 24 With rising unemployment, high inflation and increasing budget deficits, the times were indeed difficult and—the logic here ran—the need greater for a film industry whose prime benefits were not cultural but economic. 26 The official documents that pushed for and helped dictate the legislatively mandated role of the NZFC foreground similar concerns but without posing them in strictly oppositional terms.

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