NZ Film Industry Takes on Gender Imbalance

Total Page:16

File Type:pdf, Size:1020Kb

NZ Film Industry Takes on Gender Imbalance AUTUMN 2015 | ISSUE 64 The New Zealand Film and Video Technicians’ quarterly NZ film industry takes on gender imbalance Dissecting insurance myths Financial longevity: Chase money or dream? www.nztecho.com New Zealand’s largest and most modern hire fleet... ...available at 60 locations nation wide! Power Generation Access Equipment & Pumping Vehicles Earthmoving & Portable Toilets & Barricading Compaction Showers & Fencing Containers New Zealand’s largest EDITORIAL CONTENTS Autumn ia already here and it sure is lovely to be enjoying some March GUILD NEWS & VIEWS sunshine (although farmers and others around the country will disagree). 2 Behind the scenes and most We bring you a mixed bag of goods in this NZTECHO. Executive officer Karla Rodgers – Industry knocked for six Gender imbalances in key creative roles in the film and TV industry is a 3 President’s rave hot topic at the moment. Our cover story by Jan Sisley highlights some President Richard Bluck – New beginnings complexities around the issue and also what the industry is doing to address INDUSTRY it. The ball has already started rolling with South Pacific Pictures announcing modern hire fleet... participants in its trainee programme to be 50/50 men and women, a discus- 8 Gender on filmmaking agenda The film industry takes on gender imbalance sion has also been hosted by WIFT and DEGNZ. It’s a topic to watch and one NZTECHO will keenly follow. 12 Running for cover (and other musings) Roi Macgregor dissects industry insurance myths Producer Roi Macgregor dives into the murky world of insurance in the film 15 Regional wrap and TV industry and shares some great tips for technicians. It’s important ...available at 20 Speical tribute: David Comer, John Day 60 locations to be aware when you are or aren’t covered on jobs. If unsure then talk to production, your insurer or the Techos’ Guild. TECHOSPHERE Cinematographer Waka Attewell reflects on aspects of his ‘financial’ nation wide! 4 Fine print: Dancing the film festival beat journey through the film and TV industry. Waka’s had a go at everything from 5 Extreme close-up: Alexandra Sumner, post-production investing in trees to ‘selling his soul’ running a TVC production company but 6 Back in the day: Stu Dryburgh takes us back to an emerging film industry has this been enough to achieve financial security as he approaches 60? Waka Attewell reflects on financial survival NZTECHO is planning an article around financial future-proofing and I would 16 Point of view: love to hear from technicians with stories about how well or not so well 18 Techos tidbits Power Generation Access Equipment they’ve fared financially in the industry. What would you have done differently 19 Newbie profile: Andrew Galt & Pumping and why? What worked well? Email [email protected] Vehicles As always, thanks so much to all the NZTECHO contributors, especially Jan, Roi and Waka. Your support to NZTECHO and the Techos’ Guild is appreciated. One more important note before I sign off. The Techos’ Guild is seeking a new accounts officer. See page18 for more information. If you are an expe- rienced accounts officer, accounts administrator or perhaps an accountant returning to work then email your CV and a cover letter to [email protected] Hopefully you’re able to enjoy this NZTECHO magazine in the sunshine, as next time you hear from me it’ll be winter. Catch you then. Carolyn Brooke, editor Cover shot: South Pacific Pictures chief executive Kelly Martin. Credit: Jae Frew. ISSUE 64 AUTUMN 2015 Editor Advertising Carolyn Brooke Advertising queries, please contact Karla Rodgers on 09 8899522 Earthmoving & Portable Toilets & Publisher/advertising (always dial 09), [email protected]. For a copy of our ad specs and Barricading Karla Rodgers rate card, please visit our website. Showers Design Compaction & Fencing Justin Westgate / biote Printing All contents are copyright New Zealand Film and Video TP Printing Services Ltd. Technicians’ Guild, 2015, unless indicated otherwise. May not be reproduced, copied or transmitted in any form without permission. Contributors Karla Rodgers Graeme Tuckett The views expressed in this publication do not necessarily reflect the views of the New Zealand Film and Video Technicians’ Guild. We appreciate Alun ‘Albol’ Bollinger Kevin Jennings Containers Tim Riley Andrew Galt the support of: Stu Dryburgh Alexandra Sumner Jan Sisley Roi Macgregor Waka Attewell Sioux Macdonald www.nztecho.com 2 | NZTECHO Autumn 2015 BEHIND THE SCENES With over 20 years in the film industry, Karla Rodgers is now executive officer for the Techos’ Guild. Industry knocked for six on Cricket World Cup Well 2015 has started with a hiss and a great big roar. It appears our Andrew Little released a press release on February 8th. From there it ‘cup runneth over’. was definitely out in the public arena, including on TV One news and in A major part of the start of this year was the employment of outside newspapers. The following day Radio Live talkback host Sean Plunket broadcast (OB) crew surrounding and the Cricket World Cup (CWC). devoted the whole morning to the issue with a resounding 90% of those Held in NZ, the CWC is an exciting event that showcases to the world who called in against the practise of bringing in cheap overseas labour. how wonderful little Aotearoa and its people are. Hopefully all of us are Sadly the situation is that the major event classification overrides all. And able to reap the benefits of this. Sadly though, there a dark side to how as Prime Minister John Key dismissively stated on the TV One piece “it this event has been staged in NZ. Given the classification of major event was up to them to hire who they wanted for the event”. It is disappointing status I can’t help but think that politicians may have failed to read some that Mr Key who appears to be very happy to ride on the positive wave of the small print. We appear to have given away some of our crucial of publicity that the NZ film industry is afforded but is not prepared to rights, in particular the right to ensure that all NZ residents are given the protect, or stand up for the employment of those who have made it opportunity to work on such events before we bring in overseas crew. internationally so well respected. Demonstrating how seriously flawed The host broadcaster for the CWC event is ESPN Star Sport, based out major event status visa processing may be, an additional news broad- of India. They in turn on-sell to other broadcasters to make their money. cast went out on TV One news on February 22nd alluding to breaches They employ the camera, sound, production managers and the like. of our immigration laws, with some of those who had entered the country They additionally contract a facilities provider, in this case, Broadcast to work with alleged undisclosed criminal convictions. Both broadcasts Solutions (BS) based in Hong Kong, they provide the outside broadcast can be viewed on TVNZ OnDemand on the respective dates or on the trucks and facilities. Techos’ Guild Facebook page. In December last year the Techos’ Guild was alerted by OB Guild The major event status legislation is fairly tight and additionally a recipro- members that details relating to crew employment seemed somewhat cal agreement. To make amendments to the legislation may take years, vague and cryptic and there was growing concern. After initial requests but this is what we as a guild will work towards. received by a ‘few NZ technicians’ asking for rates and quotes from NZ can and naturally wants to stage these great events in the future. It is ESPN and BS, crew emails went unanswered and as the days before however important that this does not come at the cost of our workforce. the event drew near there was a wall of silence. No contracts, schedules The next event under the major event status is the FIFA U-20’s World or call sheets. The numbers of NZ resident contractors approached for Cup this coming May and June. The television broadcast rights have work at that stage was less than 10. again been given to an international company so we will be looking very To initiate action we needed assistance as fast as possible and sought closely as to where technicians will be employed from. help to act on behalf of the Guild. Time was of the essence. Andrew Little’s office stepped up to the cause. Within days of our contact with the office, a letter was sent to the ‘Mr Big’ at ESPN. Although no response was received from ESPN, further dialogue with the handful of those initially contacted technicians was re-established from ESPN. We felt hopeful. The numbers however still remained dismally low and the wall of silence befell us once again. The identical scenario was simulta- neously happening in Australia with the same major event status having GOLD STARS & CHOCOLATE FISH been placed on the event across the Tasman. Two weeks before the event, crew lists finally came out and it became Big thanks to the following people for supporting and helping the apparent that the majority of crew were being brought in from countries Techos’ Guild: such as Sri Lanka, India, Malaysia, and South Africa. In short, they were N Sioux Macdonald for ongoing support to the Guild. bringing in cheap labour. We were made aware of the rate being offered N Jan Sisley, Waka Attewell and Roi Macgregor for NZTECHO to these crew. ESPN, who were going to make an incredible profit articles. being the host broadcaster, showed they were going to maximise every N To everyone who helped with branch meetings.
Recommended publications
  • New Zealand Movies 2016
    New zealand movies 2016 Continue In the early 1990s, the British Film Institute launched the Century of Cinema Series in an attempt to explore various examples of national cinemas around the world. The film, written and directed by Kiwi actor Sam Neill, has been a contributor to the project. Although his attitude to this topic has gradually changed, Sam Neill concluded in his documentary that the New zealand films are predominantly dark and brooding. This particular era of filmmaking began in the mid-1970s with the rise of the New Wave in cinema. Here, the themes that defined the way the New ealand public viewed themselves on screen put enormous creative pressure on local filmmakers. Since then, the national cinema of New york has experienced a number of unstable stages. Over the years, one of the greatest obstacles that the filmmakers of New York have had to overcome has been the high poppy syndrome of Kiwi culture. Local audiences have been impressed by the talents and creativity of their country's artists, so very few Kiwis will sit and watch New york made productions. National pride for the country's film industry has blossomed recently. Below is a list of the top ten examples of national cinema in New York. It is important to note that despite a key role in the creation of the influential film industry in New York, peter Jackson's Lord of the Rings and The Hobbit series were not included in this book. Instead, the films selected for the list are those that demonstrate the key characteristics of the country's culture.
    [Show full text]
  • A Critical Examination of Film Archiving and Curatorial Practices in Aotearoa New Zealand Through the Life and Work of Jonathan Dennis
    Emma Jean Kelly A critical examination of film archiving and curatorial practices in Aotearoa New Zealand through the life and work of Jonathan Dennis 2014 Communications School, Faculty of Design and Creative Technology Supervisors: Dr Lorna Piatti‐Farnell (AUT), Dr Sue Abel (University of Auckland) A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy November 2014 1 Table of Contents Abstract ......................................................................................................................................................... 5 Acknowledgements:...................................................................................................................................... 6 Glossary of terms: ......................................................................................................................................... 8 Archival sources and key: ............................................................................................................................ 10 Interviews: .............................................................................................................................................. 10 1 Introduction ............................................................................................................................................. 11 2. Literature Review ...................................................................................................................................
    [Show full text]
  • Planet of the Long White Cloud
    Planet of the Long White Cloud Science Fiction Cinema in New Zealand cultural identity Seth James © 2019. Created as part of Unitec MCP - ICIB 9003 2 This exegesis and project entitled Planet of the Long White Cloud: Science fiction cinema in New Zealand cultural identity’ is submitted in partial fulfillment for the requirements for the Unitec degree of Master of Creative Practice. Principal Supervisor: Dr. Leon Tan Associate Supervisor: Dr. Becca Wood Professional Advisor: Johanna Smith 3 Planet of the Long White Cloud 1. Abstract 4 2. Methods 5 3. Lit Review & Discussion 7 3.1. Science Fiction 7 3.2 The Identity of New Zealand Cinema 15 3.3 New Zealand Scifi Cinema 21 5. Output: Neon Rot Webseries 27 Conclusion & Future of Research 33 Appendix A: Grounded Theory 35 Appendix B: Scripts 39 4 1. Abstract Stargazing in the wilds of New Zealand is a wondrous thing. The cool, clean air chills your lungs, the only sound is the quiet rustle of trees and lonely birds and the sky. The bedazzled ​ ​ night seems to move with glittering stars, with distant galaxies resting in a milky swirl. Those existential thoughts kick in as you stare: what does the future hold for New Zealand? Will this brilliantly starry night still be here in 10 years? What will it be in 100 years? Will we ever settle on those stars? Future pondering continue: maybe the world will become a cultural hotpot as in The Fifth ​ Element (Besson, 1997). It could equally be a technological dystopia The Matrix (Wachowskis’, ​ ​ ​ 1999). Maybe all the cultures will form their own worlds, each diverse and wonderful, like those in the Star Wars franchise(1977-2019).
    [Show full text]
  • Dossier De Presse D’Époque) AVEC
    UN FILM DE GEOFF MURPHY VERSION RESTAURÉE (1983) NOUVELLE ZÉLANDE. DURÉE : 1H49. FORMAT : 1.85. 5.1 SORTIE NATIONALE LE 29 MARS 2017 Photos et matériel presse téléchargeables sur www.utu-lefilm.com DISTRIBUTION LA RABBIA 19, rue de Liège 75009 Paris www.larabbia.com RELATIONS PRESSE PROGRAMMATION Marie Queysanne LES BOOKMAKERS assistée de Charly Destombes 103, rue Sainte Catherine 113, rue Vieille du Temple 33000 Bordeaux 75003 Paris Tél : 05 35 54 51 89 Tél : 01 42 77 03 63 www.les-bookmakers.com [email protected] / [email protected] L’HISTOIRE Nouvelle-Zélande, 1870. Te Wheke, un éclaireur des troupes coloniales, retrouve sa tribu massacrée par l’armée pour laquelle il travaille. Trahi et fou de douleur, il jure de se venger et d’infl iger le même châtiment - utu - aux Pakehas (les Néo-Zélandais d’origine européenne). IL FALLAIT... SAUVER UTU ! UTU (1983) est l’un des plus grands succès du cinéma néo-zélandais. À l’époque, son budget de 3 millions de dollars (environ 30 millions d’aujourd’hui) en faisait la production la plus chère de l’histoire du pays. Une production qui, quelque part, reçut la bénédiction des dieux. Le doyen des conseillers maoris plaça en effet toute la production et ceux qui y participaient sous la protection d’un « tapu » (un tabou) qui rendait intouchable et sacré le fi lm. Il s’agit du premier fi lm néo-zélandais à avoir été présenté au Festival de Cannes en Sélection Offi cielle, Hors Compétition. En 1983, il était classé deuxième au box-offi ce néo-zélandais, derrière le fi lm précédent de Geoff Murphy, GOODBYE PORK PIE.
    [Show full text]
  • Moderní Zobrazení Maorských Válečníků V Současných Novozélandských Filmech
    Moderní zobrazení maorských válečníků v současných novozélandských filmech Diplomová práce Studijní program: N7503 – Učitelství pro základní školy Studijní obory: 7503T009 – Učitelství anglického jazyka pro 2. stupeň základní školy 7503T045 – Učitelství občanské výchovy pro 2. stupeň základní školy Autor práce: Bc. Monika Bartoňová Vedoucí práce: Sándor Klapcsik, Ph.D. Liberec 2017 Modern Representation of Maori Warriors in Contemporary New Zealand Films Master thesis Study programme: N7503 – Teacher training for primary and lower-secondary schools Study branches: 7503T009 – Teacher Training for Lower Secondary Schools - English 7503T045 – Teacher training for lower-secondary school. Subject - Civics. Author: Bc. Monika Bartoňová Supervisor: Sándor Klapcsik, Ph.D. Liberec 2017 , Technická univerzita v Liberci Fakulta přírodovědně-humanitní a pedagogická Akademický rok: 2Oró /2OL6 zAD^xÍ Irrpr,oMovE pnÁcp (PROJEKTU, UMĚLECKÉHO DÍlA, UMĚLECKEHo vÝNoNU) Jméno a příjmení: Bc. Monika Bartoňová Osobní číslo: P15000626 Studijní program: N7503 Učitelstvípro základní školy Studiiní obory: Učitelstvíanglického jazyka pro 2. stupeň základní školy Učitelstvíobčanské výchovy pro 2. stupeň základní školy Moderní zobtazení maorských válečníkův současných Název tématu: novozélandských fi lmech Zadávající katedra: Katedra anglického jazyka Zásady pro vypTacování: Práce se zabÝvá filmovým zobrazenim maorských l,álečníkův současných novozélandských fil- rnech, například Once Were Warriors (1994), What Becomes of the Broken Hearted? (1999), Crooked Earth (2001), Whale Rider (2003), River Queen (2005), Boy (2010), The Dead Lands (2014) a The Last Saint (2014), První část bude věnor,ána popisu tradičního maorského váleČ- rríka, který je členem kmenových struktur a často se účastníbojů proti britským kolonizáto- rům. Druhá část se bude zabývat analýzou různých zprisobů zobrazení maorských válečníkŮ v současnémfilmu a popisem typických postav, do nichž se tito válečnícist1,,1izují.Hlavními metodami výzkumu jsou studium literatury a analýza vybraných filmů.
    [Show full text]
  • Martyn Sanderson (1938 - 2009)
    ka mate ka ora: a new zealand journal of poetry and poetics Issue 9 March 2010 ‘LANDED POEM UPWARDS’: MARTYN SANDERSON (1938 - 2009) Murray Edmond Martyn Sanderson burst onto the New Zealand poetry scene with eleven poems in Louis Johnson's 1964 New Zealand Poetry Yearbook, the issue which contained allegedly 'obscene' poems from Baxter and Richard Packer. Two of Sanderson's poems were also embroiled in the obscenity controversy. The Yearbook of the Arts in New Zealand was first published in 1945 and was succeeded by the New Zealand Poetry Yearbook in 1951. Both these publications were part of that institutionalisation of cultural nationalism which began to occur during, but mostly happened after, the Second World War - the National Film Unit (1941), the New Zealand Literary Fund (1946), the National Library Service (1947), the National Orchestra (1947), the New Zealand Ballet Company (1953), the first of a number of New Zealand Opera Companies in 1954, and the sequence of poetry anthologies, Curnow's 1945 and 1951 Caxton anthologies and Chapman and Bennett's 1956 Oxford, and finally Curnow’s 1960 Penguin. It was all coming together, or so it seems in W.H. Oliver's complacent retrospective account: ‘the breakthrough came with the end of the Second World War . These crowded years transformed a colonial society into an independent one . .' (Oliver, 539). Sanderson managed to jump on the very end of Oliver's independence train because the 1964 Poetry Yearbook was Johnson's last. That was that, an era was over - and what was to come next? ( see Edmond).
    [Show full text]
  • Utu Study Guide
    New Zealand Film Study Guide The following activities are based on the achievement objectives in the New Zealand English curriculum. They may provide a starting point for teachers wishing to design a unit based on the fi lm. Glitteron Films in association with the New Zealand Film Commission Present UTU Starring Bruno Lawrence, Anzac Wallace, Wi Kuki Kaa, Kelly Johnson, Tim Elliot, Tania Bristowe, Ilona Rogers & Martyn Sanderson Screenplay Geoff Murphy, Keith Aberdein Photography Graeme Cowley Editor Michael Horton Production Designer Ron Highfi eld Music John Charles Sound Graeme Morris Production Manager Pat Murphy Assistant Director Lee Tamahori Producers Don Blakeney & Kerry Robbins Director Geoff Murphy Writing poetic Writing Transactional 1 Write about an incident in which you think you (or Essays someone else) was hard done by. Recount/share • It has been said, about Te Wheke and Williamson, your writing orally. Choose your own or another’s that ‘the fi lm’s inconsistency of tone wastes their incident. List a series of plot points for a story. potential to become tragic heroes’ (Martin & • Write that story. Edwards : 88). Discuss. • Write a business letter to a publisher asking • What do you see as the strengths and/or them to read and consider publishing your story. weaknesses of this fi lm? (You might like to discuss • Script or storyboard a scene from your story. the vitality of the action scenes; fi lm techniques; characterisation; plot; themes). 2 After brainstorming a list of words to describe Te Wheke, write a poem about him. • Discuss how effective a character was in attracting and maintaining your interest.
    [Show full text]
  • Murphys' Lore
    Family ties MURPHYS’ LORE Born into a filmmaking dynasty, siblings Matt and Robin Murphy talk to Sarah Lang about growing up on a hippie commune, going into the “family business” – and still having a finger in the pie. any a Kiwi watching the 1981 filmGoodbye Pork M Pie has cheered on the yellow Mini that literally falls to bits as it evades its police pursuers – and finally makes it the length of the country from Kaitaia to Invercargill. Bringing some much-needed humour to New Zealand film, it was directed, co-written and co- produced by local screen legend Geoff Murphy, whose son Matt (then 15) was lighting assistant/ best boy and daughter Robin (then 18) was wardrobe manager. Fast forward 36 years and Matt, an award-winning director of television commercials, has written and directed the reboot. His first supervisors; and Veronique’s feature Pork Pie, in cinemas from daughter, Lily Lawrence, worked in February 2, isn’t a strict remake (for the art department. Fifteen other instance, they don’t visit as many family members – Matt’s children, towns) but its essence is the same. grandsons, sisters-in-law, nephews Dean O’Gorman plays Jon, a failing and nieces – mucked in as extras. writer taking a road trip to win back The Murphy siblings had an his lady, with James Rolleston and unusual upbringing. When Robin was Ashleigh Cummings playing wise- 11, Paul nine, Matt eight, Linus three cracking passengers Luke and Kiera. and Miles two months, the family Talk about a family affair: Matt’s moved from a Wellington flat to live sister Robin was location manager communally in the coastal village of and her son, Charley Murphy Samau, Waimarama, Hawke’s Bay.
    [Show full text]
  • Pressing Australian Driver Jack Brabham, Who Secured Him a Position on the Cooper Race Team in the UK
    McLAREN Production Notes CONTENTS: 2 Fact Sheet 3 Synopsis 3- 7 ABOUT THE FILM 8-13 ABOUT THE PRODUCTION 14-23 ABOUT THE FILMMAKERS 14-17 Roger Donaldson – Director 18-19 Matthew Metcalfe – Writer & Producer 20 Fraser Brown – Producer 21 Tim Woodhouse – Writer & Editor James Brown – Writer & Editor 22 Keiran McGee – Researcher 23 David Long - Composer 24 Steve McQuillan – Stunt co-ordinator 24 Liz McGregor – Costume designer 25 ABOUT THE COMPANIES FACT SHEET 1 Universal Pictures and General Film Corporation in association with the New Zealand Film Commission, Images & Sound, The Giltrap Group and FB Pictures presents A Matthew Metcalfe production in association with Fraser Brown. A Roger Donaldson Film Director: Roger Donaldson Producers: Matthew Metcalfe, Fraser Brown Written by: Matthew Metcalfe, Tim Woodhouse, James Brown Edited by: Tim Woodhouse, James Brown Researcher: Keiran McGee Directors of Photography: Interviews – David Paul, John Toon. Dramatic - Renaud Maire, Grant McKinnon Music: David Long Australia and New Zealand Distribution: Transmission Films International Distribution (ex USA): Universal Pictures NZ Release date: Publicist contact: Genre: Feature Documentary Duration: [94 mins] Rating: TBA “It would be a waste of life to do nothing with one's ability, for I feel that life is measured in achievement, not in years alone.” - Bruce McLaren 2 SYNOPSIS From acclaimed director Roger Donaldson, comes then incredible true story of the man behind one of the greatest brands in international motorsport, McLaren. A fearless racing driver, a visionary and brilliant engineer, Bruce McLaren was a humble New Zealander who became a superstar in the glamorous jet-set world of 1960s Formula One motor racing.
    [Show full text]
  • Press Kit & Production Notes
    PRESS KIT & PRODUCTION NOTES Written and directed by Matt Murphy Produced by Tom Hern of Four Knights Film. CONTACT: Chris Henry Publicist 818 ENTERTAINMENT [email protected] +64 21 670 604 BLONDINI ENTERPRISES LTD. 22 North Piha Road, Piha 0772 New Zealand CONTENTS: 3: Summary Information 4: Synopsis 5: The story of Pork Pie 11: Cast Bios 13: Key Creatives 14: Technical Information 15: Billing Blocks BLONDINI ENTERPRISES LTD. 22 North Piha Road, Piha 0772 New Zealand SUMMARY INFORMATION: WRITER/DIRECTOR: Matt Murphy PRODUCER: Tom Hern EXECUTIVE PRODUCERS: Tim White, Alan Harris, Tim Wood DIRECTOR OF PHOTOGRAPHY: Crighton Bone SECOND UNIT DIRECTOR: Miles Murphy PRODUCTION DESIGNER: Seth Kelly COSTUME DESIGNER: Kristin Seth HAIR AND MAKE UP DESIGNER: Jacqui Leung EDITOR: Jonno Woodford-Robinson COMPOSER: Jonathan Crayford STARRING: DEAN O’GORMAN as Jon JAMES ROLLESTON as Luke ASHLEIGH CUMMINGS as Keira ANTONIA PREBBLE as Suzie MATT WHELAN as Noah SIOBHAN MARSHALL as Becca BEN MITCHELL as Motorbike Cop THOMAS SAINSBURY as Bongo GERALDINE BROPHY as Andy RIMA TE WIATA as Mrs D BLONDINI ENTERPRISES LTD. 22 North Piha Road, Piha 0772 New Zealand SYNOPSIS: PORK PIE (action/adventure/comedy): Jon is failing as a novelist, failing to pay the rent and has recently failed his one true love, Suzie. After washing up on a mate’s couch, he summons his blind optimism and sets off in a clapped-out old Holden to find Suzie and make things good again. When that plan breaks down too, Jon’s left hitchhiking with nothing to his name but a charred laptop and a borrowed suit.
    [Show full text]
  • Making Power, Doing Politics • • the Film Industry and Economic Development in Aotearoa/New Zealand
    Making Power, Doing Politics • • The Film Industry and Economic Development in Aotearoa/New Zealand Eva Neitzert A thesis submitted for the degree of Doctor of Philosophy Department of Sociology London School of Economics and Political Science November 2007 UMI Number: U615519 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U615519 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 11 CTlOd 'xlbb d 5 9 S ^ I hereby declare that the work presented within this thesis is solely my own except where explicitly acknowledged according to standard academic referencing conventions. Eva Neitzert Date The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without prior written consent of the author. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I understand that in the event of my thesis not being approved by the examiners, this declaration will become void. 2 Abstract Over the last decade creative industries, such as film and fashion, have become increasingly commonplace items on economic development agendas at urban, regional, and national scales.
    [Show full text]
  • 1 GAYLENE PRESTON ARCHIVE & REFERENCE PROJECT Elizabeth
    GAYLENE PRESTON ARCHIVE & REFERENCE PROJECT Elizabeth Allen, Stephanie Parsons & Marian Evans for Women’s Gallery Inc 2004 Revised & Updated Marian Evans 2011-12 1 1. NOTES 13 2005 13 TIMELINE 13 FILM LIST & BOXES 13 2011 13 SOURCE MATERIAL 13 NEW ZEALAND FILM ARCHIVE 14 TO DO– 14 2. REFERENCING CODE FOR FILMS 15 3. GAYLENE PRESTON TIMELINE 17 1947-1964 17 HOME 17 WORK/ EDUCATION 17 REFERENCES 18 1965-1968 18 HOME 18 WORK/ EDUCATION 19 REFERENCES 19 1969 19 HOME 19 WORK/ EDUCATION 19 REFERENCES 19 1970-1971 20 HOME 20 WORK/ EDUCATION 20 REFERENCES 20 1972 20 HOME 20 WORK 20 REFERENCES 20 1973 21 HOME 21 WORK/ EDUCATION 21 REFERENCES 21 1974-1975 21 HOME 21 WORK 21 HOME MOVIE 22 REFERENCES 22 1976 22 HOME 22 WORK 22 HOME MOVIE 22 REFERENCES 22 1977 23 HOME 23 WORK 23 REFERENCES 23 2 1978 24 HOME 24 WORK 24 REFERENCES 25 1979 25 HOME 25 WORK 26 REFERENCES 26 1980 26 HOME 26 WORK 26 HOME MOVIE 26 REFERENCES 26 1981 26 HOME 26 WORK 27 HOME MOVIES 27 REFERENCES 27 1982 27 HOME 27 WORK 27 ORAL HISTORIES 27 HOME MOVIES 28 REFERENCES 28 1983 28 HOME 28 WORK 28 HOME MOVIES 28 REFERENCES 28 1984 29 HOME 29 WORK 29 HOME MOVIES 29 REFERENCES 29 1985 30 HOME 30 WORK 30 HOME MOVIES 30 ORAL HISTORIES 30 REFERENCES 30 1986 31 HOME 31 WORK 31 REFERENCES 31 1987 32 HOME 32 WORK 32 HOME MOVIES 32 REFERENCES 32 1988 32 HOME 32 WORK 32 HOME MOVIES 32 REFERENCES 33 3 1989 33 HOME 33 WORK 33 HOME MOVIES 33 REFERENCES 33 1990 33 HOME 33 WORK 33 HOME MOVIES 34 REFERENCES 34 1991 34 HOME 34 WORK 34 HOME MOVIES 35 REFERENCES 35 1992 35 HOME 35 WORK 35 REFERENCES
    [Show full text]