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 motion pictures as Whalerider, the Lord of the earrings trilogy and as soon as have been Warriors. modern New Zealand Cinema is an astute research of this interesting and the main thorough ebook on hand on a colourful filmmaking tradition. The ebook explores the undefined, questions of aesthetics and shape, country and id throughout the complete diversity of filmmaking in New Zealand. It additionally highlights particular contexts, together with Maori, documentary and brief filmmaking, literary variations, the advance of the nationwide movie fee, advertising and censorship, in addition to questions of bicultural family members, spirituality, masculinity and disability--that have a created a cinema of worldwide value. incorporated is a complete filmography that info all New Zealand characteristic and tv movies.
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Additional resources for Contemporary New Zealand Cinema: From New Wave to Blockbuster
Interim Film Commission, Towards a New Zealand Motion Picture Production Policy (February 1978), 8–9. 20. , 9. 21. , 8. 22. New Zealand Parliamentary Debate 420 (24 August 1978), 2864; New Zealand Parliamentary Debate 421 (28 September 1978), 3992–94. 23. Alan McRobie, ‘The Politics of Volatility’, Oxford History of New Zealand (Auckland: Oxford University Press, 1992), 394. See also Roderic Alley, ‘New Zealand and the South Pacific’, New Zealand and the Pacific, ed. Roderic Alley (Boulder, Colorado: Westview Press, 1984), 135–54; and Keith Barber, ‘New Zealand Race Relations Policy, 1970–1988’, Sites 18 (Winter 1989): 6–7.
76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 35 by writers skilled in the craft, with a universal theme from a New Zealand perspective’, 2, 9. Alan Williamson, ‘Calculated risk—the Jim Booth philosophy’, Wellington Evening Post, 13 May 1989, 8. NZFC Annual Report (1986), 7; NZFC Annual Report (1987), 3. NZFC Annual Report (1991), 19. See Jesson, ‘Commission with a New (Bank) Role’, 14; Roger Horrocks, ‘The Long View on Short Films’, Onfilm 4, no. 1 (December 1986): 24–25; and Merril Cole, ‘Screening for attention’, Arts Times (October 1987): 5.
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). 32. Ibid. 33. , 9. 34. , 10. 35. Ibid. In fact, the only serious debate in Parliament over the NZFC Act concerned this acknowledgment of ‘community standards’, which would, argued one Labour member, make for ‘a sort of sanitised film commission, which supports the making of certain types of innocuous films only’ (New the new zealand film commission 33 Zealand Parliamentary Debate 421 [28 September 1978], 3999).
Contemporary New Zealand Cinema: From New Wave to Blockbuster by Ian Conrich, Stuart Murray