New Zealand Cinema.pdf
This study of New Zealand cinema explores a series of recurring themes and issues - law and authority, post-settler identity, neo-colonialism, Asia-Pacific diasporas, the Kiwi Gothic, and the reworking of American genres - across more than a hundred years of New Zealand film history. It presents critical readings of a diverse range of films - shorts, features, and documentaries - and considers the work of directors, producers, cinematographers and actors. The marketing of New Zealand film is addressed and is part of a wider cultural framework that approaches this national cinema through consumption, control and regulation, cultural policies and local and international media. Drawing on a private archive of pre-cinema New Zealand, this book also includes a study of stereoviews and magic lantern slides. Films discussed include: Whale Rider, Utu, Vigil, Once Were Warriors, Sione's Wedding, In My Father's Den, and Black Sheep. This is an excellent guide for anyone studying and researching world cinema, especially those interested in Asia-Pacific or Postcolonial Cinema.
Ian Conrich is Fellow at the University of Essex in the Department of Literature, Film and Theatre; Founding Director of the Centre for New Zealand Studies, Birckbeck, Univeristy of London
1) Introduction; 2) Defining a national cinema; 3) A cultural-historical overview; a) Pre-cinema (magic lantern shows, panoramas, dioramas, and visual culture); b) A cinema of pioneers (1896-1976); c) The new wave (1977-1988); d) A transnational cinema (1989- ); 4) Industry; a) The National Film Unit; b) The New Zealand Film Commission; c) Co-productions and tax breaks; d) Cinema exhibition and distribution; e) Cinema culture and consumption - film censorship, publicity and marketing; 5) Forms of fiction and documentary; a) The short film; b) Animation; c) Experimental filmmaking; d) Documentary filmmaking; e) Genre films - to include short studies of the horror film, war film, action film,; Western, melodrama, and the musical; 6) Issues and debates; a) A bicultural cinema? Indigenous filmmaking and a fourth cinema; b) A cinema of multiculturalism: Migration and diasporas; c) Gender and sexuality; d) Law and authority; e) A post-settler nation; f) Neo-colonialism; g) Globalisation and political crisis; 7) Bibliography; 8) Filmography.