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English Literature Programme Faculty of Humanities and Social Sciences School of English, Film, Theatre, & Media Studies Te Kura Tānga Kōrero Ingarihi, Kiriata, Whakaari, Pāpāho ENGL 112 Cultural Encounters: The Literature of Aoteroa New Zealand Trimester 2 2016 11 July to 13 November 2016 20 Points Bill Manhire (1986) - Robert Cross IMPORTANT DATES Teaching dates: 11 July to 16 October 2016 Mid-trimester break: 22 August to 4 September 2016 Study period: 17 – 20 October 2016 Examination/Assessment period: 21 October to 12 November 2016 Note: Students who enrol in courses with examinations must be able to attend an examination at the University at any time during the scheduled examination period. Withdrawal dates: Refer to www.victoria.ac.nz/students/study/withdrawals-refunds. If you cannot complete an assignment or sit a test in the last three weeks of teaching, or an examination, it may instead be possible to apply for an aegrotat (refer to www.victoria.ac.nz/students/study/exams/aegrotats). 1 School of English, Film, Theatre, & Media Studies ENGLISH LITERATURE PROGRAMME COURSE OUTLINE ENGL 112 CLASS TIMES AND LOCATIONS Lectures Tue, Thu, Fri 3.10 – 4.00 Maclaurin MCLT102 Tutorials Tutorials begin in WEEK 2. Please register for tutorials via the ENGL 112 site on Blackboard: go to “Tutorial instructions” and then follow the instructions carefully. Remember to record your tutorial time, day and room for future reference. Tutorial rooms will be listed on myAllocator, Blackboard and on the noticeboard in the Level 3 corridor of the Hugh Mackenzie Building. NAMES AND CONTACT DETAILS Staff: Anna Smaill Māori and Pasifika Support Tutor: Trae Te Wiki Email: [email protected] Email: [email protected] Phone: 463 5256 Phone: 463 9599 Room: vZ 806 Room: vZ 807 Office Hours: tba Office Hours: tba COMMUNICATION OF ADDITIONAL INFORMATION Updated information about the course, and all handouts, etc. -
Annual Report 2019/20
Annual Report 2019 – 2020 TE TUMU WHAKAATA TAONGA | NEW ZEALAND FILM COMMISSION Annual Report – 2019/20 1 G19 REPORT OF THE NEW ZEALAND FILM COMMISSION for the year ended 30 June 2020 In accordance with Sections 150 to 157 of the Crown Entities Act 2004, on behalf of the New Zealand Film Commission we present the Annual Report covering the activities of the NZFC for the 12 months ended 30 June 2020. Kerry Prendergast David Wright CHAIR BOARD MEMBER Image: Daniel Cover Image: Bellbird TE TUMU WHAKAATA TAONGA | NEW ZEALAND FILM COMMISSION Annual Report – 2019/20 1 NEW ZEALAND FILM COMMISSION ANNUAL REPORT 2019/20 CONTENTS INTRODUCTION COVID-19 Our Year in Review ••••••••••••••••••••••••••••••••••••••••••••••••••••• 4 The screen industry faced unprecedented disruption in 2020 as a result of COVID-19. At the time the country moved to Alert Level 4, 47 New Zealand screen productions were in various stages Chair’s Introduction •••••••••••••••••••••••••••••••••••••••••••••••••••• 6 of production: some were near completion and already scheduled for theatrical release, some in post-production, many in production itself and several with offers of finance gearing up for CEO Report •••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 7 pre-production. Work on these projects was largely suspended during the lockdown. There were also thousands of New Zealand crew working on international productions who found themselves NZFC Objectives/Medium Term Goals •••••••••••••••••••••••••••••••••••••••••• 8 without work while waiting for production to recommence. NZFC's Performance Framework ••••••••••••••••••••••••••••••••••••••• 8 COVID-19 also significantly impacted the domestic box office with cinema closures during Levels Vision, Values and Goals ••••••••••••••••••••••••••••••••••••••••••••• 9 3 and 4 disrupting the release schedule and curtailing the length of time several local features Activate high impact, authentic and culturally significant Screen Stories ••••••••••••• 11 played in cinemas. -
WOMEN in FILM and TELEVISION Winter 2008
CONTENTS WOMEN IN FILM AND TELEVISION Winter 2008 3 GRASS ROOTS 4 SORTING THE 8 OI GIRL! NEWS BIG STUFF Film Team Be Part of the Story With Sian Jaquet Takes Honours Executive Update 2 Grass Roots News: Current TV 3 Sorting the Big Stuff: Sian Jaquet 4–5 National News 6 New Members: Auckland & Wellington 7 Oi Girl!: 48HOUR Film Festival 8 Membership Info and Form 9–10 Table Plays: Regional Drama Series 11 What I Do: Claire Cowan 13 Membership Discounts 14 Photo: S5hiara, flickr.com WIFT Magazine Winter 2008 EXECUTIVE UPDATE W FT NZ EXECUTIVE Anne O’Brien UPDATE EXECUTIVE DIRECTOR The last few weeks have been rather wet, An Island Calling has been on the international celebrate them in style but, in the meantime, I do dark and cold and it can sometimes be hard Festival circuit. Burying Brian started its season want to acknowledge our fantastic family of naming run, Outrageous Fortune is rocking on, Sian Jaquet rights sponsors, headed up by Eyeworks joined by to remember the bright warmth of summer. (profiled on page 4 of this magazine) is doing the de- Great Southern Film & Television, MiNDFOOD, The winter blues hover but lucky for those clutter business in The Big Stuff, and there was that South Pacific Pictures, Television New Zealand and of us who simply adore the moving image, wedding on Shortland Street. TVWorks, alongside SKYCITY, Heritage Hotels and Waiwera Artesian Water. there’s an upside... Winter’s also the perfect time for a party to lift Indulging your screen addiction is the perfect the spirits and what better way than to celebrate Bringing the industry together to create opportunities guilt-free way to avoid dreary days, and luckily women’s achievements at the annual WIFT New is what WIFT’s about and we aim to deliver on that programmers know it. -
Bruce Mason, James K. Baxter, Mervyn Thompson, Renée and Robert Lord, Five Playwrights
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. METAMORPHOSIS AT 'THE MARGIN': BRUCE MASON, JAMES K. BAXTER, MERVYN THOMPSON, RENtE AND ROBERT LORD, FIVE PLAYWRIGHTS WHO HAVE HELPED TO CHANGE THE FACE OF NEW ZEALAND DRAMA. A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy III English at Massey University [Palmerston North], New Zealand Susan Lillian Williams 2006 11 DEDICATION I dedicate this thesis to my grandfather and my mother, neither of whom had the privilege of gaining the education that they both so much deserved. I stand on their shoulders, just as my son, David, will stand on mine. The writing of this thesis, however, would not have been possible without the unstinting assistance of Ainslie Hewton. Finally, to my irreplaceable friend,Zeb, the puppy I wanted and never had as a child. Zeb nurtured me throughout this long project and then, in the last week of completion, was called by the black rabbit. Thank you for everything you taught me Zebedee. You and I will always be playing alongside your beloved riverbank. III ABSTRACT Drama has been the slowest of the arts to develop an authentic New Zealand 'voice.' This thesis focuses on the work of five playwrights: Bruce Mason, James K. Baxter, Mervyn Thompson, Renee and Robert Lord, all of whom have set out to identify such a 'voice' and in so doing have brought about a metamorphosis in the nature of New Zealand drama. -
Catálogo 29 Fancine
1 2 3 4 5 Índice PRESENTACIÓN................................................................................... 10 COMITÉ DE DIRECCIÓN Y DE SELECCIÓN DE CORTOS.......................... 12 7 INSTITUCIONES COLABORADORAS...................................................... 13 ORGANIZACIÓN.................................................................................. 14 JURADO OFICIAL................................................................................. 18 JURADO JOVEN................................................................................... 22 ACTIVIDADES PARALELAS.................................................................... 26 LARGOMETRAJES A CONCURSO.......................................................... 32 Bacurau............................................................................................... 33 Color Out of Space............................................................................... 34 Come to Daddy.................................................................................... 35 Darlin’................................................................................................. 36 Deerskin.............................................................................................. 37 Koko-di Koko-da.................................................................................. 38 Little Joe.............................................................................................. 39 The Golden Glove............................................................................... -
Jason Whyte. Height 177 Cm
Actor Biography Jason Whyte. Height 177 cm Awards. 2014 Male Performance of the Year Award for "The Caretaker" 2014 Chapman Tripp Theatre Awards Nominee –Outstanding Performance for"Peninsula" 2011 Chapman Tripp Theatre Awards Nominee –Best Supporting Actor/Outstanding Performance for"August Osage County/When the rain 2009 Hackman Auckland Theatre Awards –Best Accent for"Flintlock Musket/Apollo 13" 2008 Chapman Tripp Theatre Awards Nominee - Best Performance-Apollo 13: Mission Control 2005 Chapman Tripp Theatre Awards Winner-Outstanding Performance-The Tutor 2005 New Zealand Screen Awards Winner-Best Performance by a Supporting Actor-The Insiders Guide to Happiness 2004 Chapman Tripp Theatre Awards Nomination-Production of the Year-Shape of Things 2003 New Zealand Film Awards Nomination-Best Actor-Kombi Nation 2003 New Zealand Film Awards Nomination-Best Screenplay-Kombi Nation 1998 Chapman Tripp Theatre Awards Nomination-Best Supporting Actor-Mojo 1998 Chapman Tripp Theatre Awards Winner-Most Original Theatre-Dirt 1997 Chapman Tripp Theatre Awards Nomination-Best Supporting Actor-Bent Feature Film. 2017 Mortal Engines Food Hawker Hungry City LTD Dir. Peter Jackson 2009 Until Proven Innocent Nicholas Reekie Dir. Peter Burger (Support) 2008 Second Hand Wedding Steve Dir. Paul Murphy (Support) 2008 Home By Christmas Bill Preston Doublehead Films Ltd (Support) Dir. Gaylene Preston Prd. Sue Rogers 2008 Avatar Cryo Mad Tech 880 Productions (Support) Dir. James Cameron PO Box 78340, Grey Lynn, www.johnsonlaird.com Tel +64 9 376 0882 Auckland 1245, NewZealand. www.johnsonlaird.co.nz Fax +64 9 378 0881 Jason Whyte. Page 2 Feature continued... 2005 Eagle vs Shark Michael Sad Animals (Support) Dir. Taika Cohen 2004 King Kong Venture Crew Big Primate Pictures (Support) Dir. -
About People
All about people RYMAN HEALTHCARE ANNUAL REPORT 2019 We see it as a privilege to look after older people. RYMAN HEALTHCARE 2 ANNUAL REPORT 2019 04 Chair’s report 12 Chief executive’s report 18 Our directors 20 Our senior executives 23 How we create value over time 35 Enhancing the resident experience 47 Our people are our greatest resource 55 Serving our communities 65 The long-term opportunities are significant 75 We are in a strong financial position 123 We value strong corporate governance 3 RYMAN HEALTHCARE CHAIR’S REPORT We continue to create value 4 ANNUAL REPORT 2019 RYMAN HEALTHCARE CHAIR Dr David Kerr Ryman has been a care company since it started 35 years ago. As we continue to grow, we continue to create value for our residents and their families, our staff, and our shareholders by putting care at the heart of everything we do. We’re a company with a purpose – to look after older people. We know that if we get our care and resident experience right, and have happy staff, the financial results take care of themselves. I believe purpose and profitability are comfortable companions. Integrating the two supports us in creating value over time. This year, we continue to use the Integrated Reporting <IR> Framework* to share the wider story of how we create that value. *For more information on the <IR> Framework, visit integratedreporting.org 5 RYMAN HEALTHCARE “I believe purpose As a company we’re very focused on growth, but we will not compromise our core value of and profitability are putting our residents first. -
Our Finest Illustrated Non-Fiction Award
Our Finest Illustrated Non-Fiction Award Crafting Aotearoa: Protest Tautohetohe: A Cultural History of Making Objects of Resistance, The New Zealand Book Awards Trust has immense in New Zealand and the Persistence and Defiance pleasure in presenting the 16 finalists in the 2020 Wider Moana Oceania Stephanie Gibson, Matariki Williams, Ockham New Zealand Book Awards, the country’s Puawai Cairns Karl Chitham, Kolokesa U Māhina-Tuai, Published by Te Papa Press most prestigious awards for literature. Damian Skinner Published by Te Papa Press Bringing together a variety of protest matter of national significance, both celebrated and Challenging the traditional categorisations The Trust is so grateful to the organisations that continue to share our previously disregarded, this ambitious book of art and craft, this significant book traverses builds a substantial history of protest and belief in the importance of literature to the cultural fabric of our society. the history of making in Aotearoa New Zealand activism within Aotearoa New Zealand. from an inclusive vantage. Māori, Pākehā and Creative New Zealand remains our stalwart cornerstone funder, and The design itself is rebellious in nature Moana Oceania knowledge and practices are and masterfully brings objects, song lyrics we salute the vision and passion of our naming rights sponsor, Ockham presented together, and artworks to Residential. This year we are delighted to reveal the donor behind the acknowledging the the centre of our influences, similarities enormously generous fiction prize as Jann Medlicott, and we treasure attention. Well and divergences of written, and with our ongoing relationships with the Acorn Foundation, Mary and Peter each. -
This Online Version of the Thesis Uses Different Fonts from the Printed Version Held in Griffith University Library, and the Pagination Is Slightly Different
NOTE: This online version of the thesis uses different fonts from the printed version held in Griffith University Library, and the pagination is slightly different. The content is otherwise exactly the same. Journeys into a Third Space A study of how theatre enables us to interpret the emergent space between cultures Janinka Greenwood M.A., Dip Ed, Dip Tchg, Dip TESL This thesis is submitted in fulfilment of the requirements of the degree of Doctor of Philosophy December 1999 Statement This work has not been previously submitted for a degree or diploma in any university, To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. Janinka Greenwood 17 December 1999 Acknowledgments Thanks are due to a number of people who have given me support and encouragement in completing this thesis. Firstly I am very grateful for the sustained encouragement and scholarly challenges given by my principal supervisor Associate Professor John O’Toole and also by my co-supervisor Dr Philip Taylor. I appreciate not only their breadth of knowledge in the field of drama, but also their courageous entry into a territory of cultural differences and their insistence that I make explicit cultural concepts that I had previously taken for granted. I am grateful also to Professor Ranginui Walker who, at a stage of the research when I felt the distance between Australia and New Zealand, consented to “look over my shoulder”. Secondly, my sincere thanks go to all those who shared information, ideas and enthusiasms with me during the interviews that are reported in this thesis and to the student teachers who explored with me the drama project that forms the final stage of the study. -
Fictional Representations of Māori Women's Identities in Witi Ihimaera's
56 ‘The auntie’s story’: Fictional representations of Māori women’s identities in Witi Ihimaera’s The uncle’s story (2000) from an intersectional perspective SVENJA BINGEL, VERA KRUTZ, KATHARINA LUH and ANNEKI MÜETZE Abstract While literary analysis of Witi Ihimaera’s The uncle’s story (2005 [2000]) has predominantly focused on the novel’s male, homosexual protagonists Sam and Michael, this article intends to put centre stage the minor, but nonetheless innovative, and highly diverse female characters of Auntie Pat, Roimata and Amiria. The complex negotiations of modern and traditional attitudes, sexualities and ethnicities, Māori heritage and Pākehā ideologies that play out with regard to these fictionalpersonae will be taken into consideration, hence opening up a scholarly space and a potential fictional point of reference for the heterogeneity of Māori women’s life worlds in contempo- rary Aotearoa New Zealand. Implementing the rather novel research paradigm of intersectionality in literary and cultural theory and combining it with New Zealand-specific cultural concepts, this paper aims at spiralling in and out of the complexities and intricacies of fictional representations of Māori women’s identities – focusing thus, on the auntie’s story in The uncle’s story. Keywords Intersectionality, Māori literature and culture, Witi Ihimaera, spiral time, identity, femininity, homo- and hetero- sexuality, ethnicity, takatāpui, generation, family/whānau. ‘Intersecting identities’ – Spiralling in and out of Māori women’s identities Over the course of the last decades, practitioners of literary and cultural studies have continu- ously pointed to the importance and usefulness of an enhanced analytical complexity by means of ‘intersecting’ or ‘interweaving’ identities. -
YOU CAN ALWAYS HAND THEM BACK Music and Lyrics by Peter Skellern THANKS to OUR SUPPORTERS
Vol. 2 No. 3 Apr 2016 Roger Hall’s YOU CAN ALWAYS HAND THEM BACK Music and lyrics by Peter Skellern THANKS TO OUR SUPPORTERS FUNDERS PRINCIPAL CORE FUNDER PARTNERS PRESENTING FUNDER PARTNER UNIVERSITY Artistic Director's Note Artistic Director Colin McColl M A J O R SUPPORTERS It's extraordinary to think that You Can Always Hand Them Back is for forty years Roger Hall has been a collaboration between Roger and entertaining us with his comedies. For Peter Skellern – distinguished UK forty years he’s charted New Zealand’s singer/songwriter – and has enjoyed social history and presented it to us tremendous success throughout New MEDIA as an entertaining and assured "good Zealand and in England. PARTNERS night out", with lots of laughs, lots of For this Auckland premiere we’re heart and a few home truths. From the lucky to have gathered a talented team early days of Glide Time and Middle Age of Hall “veterans”. Director Janice Spread through to recent hit comedies Finn and actors Darien Takle and like Who Wants to be 100? and Four Peter Hayden are all superb exponents PARTNERS SUPPORTING Flat Whites In Italy, Roger is without a of Roger’s work. Huge thanks to doubt NZ’s best-loved playwright, so them and to music director Jason Te it’s a great delight to present his latest Mete (who also appears as the third Q Theatre work for you. character in the play), choreographer SKYCITY Theatre You Can Always Hand Them Back Jeremy Birchall, set designer Rachael Herald Theatre PARTNERS puts the “grand” into grandparenting. -
New Zealand and Pacific Literatures in Spanish Translation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Open Journal Systems at the Victoria University of Wellington Library Reading (in) the Antipodes: New Zealand and Pacific Literatures in Spanish Translation PALOMA FRESNO-CALLEJA Abstract This article considers the Spanish translations of New Zealand and Pacific authors and explores the circumstances that have determined their arrival into the Spanish market as well as the different editorial and marketing choices employed to present these works to a Spanish readership. It considers the scarcity of canonical authors, the branding of Maori and other “ethnic” voices, the influence of film adaptations and literary prizes in the translation market, and the construction of the “New Zealand exotic” in works written by non-New Zealand authors which, in the absence of more translations from Spain’s literary Antipodes, have dominated the Spanish market in recent years. Introduction In October 2012, New Zealand was chosen as guest of honour at the Frankfurt Book Fair, the world’s largest and most prominent event of this type. The motto of the New Zealand delegation was: “He moemoea he ohorere / While you were sleeping,” an ingenious allusion to the geographical distance between Europe and its Antipodes, but also a reminder of the country’s literary potential, which Europeans were invited to wake up to. The choice of New Zealand as a guest of honour reflected the enormous interest of German readers for its literature and culture, summarized in Norman Franke’s remark that “Germans are crazy about all things Kiwi.”1 As Franke points out, more New Zealand books have been translated into German than into any other European language, and the impact of the fair resulted in an immediate increase of sales and a thirst for new titles.2 Spanish newspapers reported the event with curiosity but on a slightly skeptical note.