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

By Ian Conrich, Stuart Murray

New Zealand cinema burst onto the worldwide level within the Nineteen Seventies and has maintained its high-profile foreign presence with such movies 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 publication on hand on a colourful filmmaking tradition. The e-book explores the undefined, questions of aesthetics and shape, kingdom and id throughout the complete variety of filmmaking in New Zealand. It additionally highlights particular contexts, together with Maori, documentary and brief filmmaking, literary diversifications, the improvement of the nationwide movie fee, advertising and censorship, in addition to questions of bicultural kin, spirituality, masculinity and disability--that have a created a cinema of worldwide significance.  Included is a comprehensive filmography that information all New Zealand function and tv movies.

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The crews are paid great amounts as the film’s made, [so] you could put it in the can and bury it and no one’s going to be particularly upset. 2 Murphy was not alone. ‘There are only so many good movies you could make, but there are lots of movies you could make if your sole motive was investment’, commented Antony I. Ginnane. As a producer, Ginnane had been as ready as any at the time to develop competitive deal structures in both Australia and New Zealand. But, looking back twenty years later from the vantage-point of 2003, he nonetheless felt that the period dominated by the change in New Zealand tax legislation, in September 1984, was not the most memorable in terms of the quality of the films it engendered.

Mike Nicolaidi, ‘Unique Identity Shaping for New Zealand Nation Under Lange Leadership’, Variety, 30 April 1986, 117. Hawke, ‘Economic Trends and Economic Policy’, 447. Peter Simpson, ‘The Recognition of Difference’, Oxford History of New Zealand (Auckland: Oxford University Press, 1992), 572. See Roger Horrocks, ‘Moving Images in New Zealand’, in Headlands: Thinking Through New Zealand Art, ed. Mary Barr (Sydney: Museum of Contemporary Art, 1992), 139. NZFC Annual Report (1987), 2. NZFC Annual Report (1985), 3; NZFC Annual Report (1984), 3.

47. Bruce Jesson, ‘Money Talks’, Onfilm 1, no. 4 ( June 1984): 19–20. The fear that co-productions operated as ‘a kind of cultural colonisation’ registered particularly strongly. ’ Listener, 24 April 1982, 23; David Tossman, ‘Five Ways Forward’, Onfilm 1, no. ’ New Zealand Art News 2, no. 1 (April–May 1985): 2, 19. 48. NZFC Annual Report (1985), 3. 49. These figures come from the NZFC’s Annual Reports. Note that Lottery Board 34 50. 51. 52. 53. 54. 55. 56. 57. 58. 59. 60. 61. 62. 63. 64. 65. 66.

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