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Journey to Ihipa Press
JOURNEY TO IHIPA Hope lasts a lifetime PRESS KIT A film by Nancy Brunning INTERNATIONAL SALES Juliette Veber - NZ Film - PO Box 11 546 - Wellington - New Zealand Tel +64 4 382 7686 - Fax +64 4 384 9719 - [email protected] Key Credits Writer Vicki-Anne Heikell Director Nancy Brunning Producer Makerita Urale Production Company Journey to Ihipa Ltd Executive Producer Catherine Fitzgerald Director of Photography Davorin Fahn Technical Information Format: 35mm Film Ratio: 1:1.85 Sound: Dolby Digital 5.1 Running Time 15mins Country of Production New Zealand Language English/Māori with English subtitles Date of Completion July 2008 Sales Juliette Veber, New Zealand Film Commission Email: [email protected] Te: +64 4 382 7686 Tag Line Hope lasts a lifetime One Liner A woman spends her whole adult life hoping her son, who was taken by Maori relatives, will return to her - but when he finally does, the reconciliation is not what she had imagined. Brief Synopsis When a young soldier dies during WWII, extended Maori family protect the bloodline by taking his baby son from his European mother. His mother spends her whole adult life hoping her son will return to his Maori home, but when he finally does, the reconciliation is not what she had imagined. Festival Screenings 2008 New Zealand International Film Festivals, New Zealand 2009 Magma Short Film Festival, New Zealand 2009 Dreamspeakers Film Festival, Canada 2009 Wairoa Maori Film Festival, New Zealand 2009 Vladivostok International Film Festival, Russia 2009 imagineNATIVE Film & Media Arts Festival, Canada 2010 Sukagawa International Short Film Festival, Japan Director’s Notes - Nancy Brunning In 2004 I read an early draft of Journey to Ihipa. -
270 the Contemporary Pacific • 17:1 (2005) Ping-Ann
270 the contemporary pacific • 17:1 (2005) practices—however ancient or new- In the final scene, the narrator fangled—is glossed over in this focus reiterates the film’s title: “The old on cloth production activities, which women say, ‘Kuo hina ‘e hiapo’” today are the domain of commoner (The mulberry is ripe and ready for women. harvest). She emphasizes a genera- While the film does mention the tional rift by stating that younger increasing global relevance of Tongan people are rarely heard using this barkcloth, which is responsible for a saying. The message of generational large part of the demand for Tongan tensions resonates, echoing the senti- ngatu and the consequent depletion ments of an older kautaha woman of plant raw materials, it elides the who confidently states that ngatu- underlying topic of Tongans’ eco- making “will never end in this land” nomic dependence on overseas-based and a younger woman who says, “It Tongans. In order to contextualize seems like the younger generation will Tongan modernity, the filmmakers forget.” Thus the filmmakers provide might have explained that Tonga has a well-balanced presentation of these been a Christian nation with a top- differing opinions, even as the film down motivation toward national ends on a positive note: “Like the modernization for almost 200 years. beating of a heart as long as the beat- This would also have provided some ing of tutu can be heard . the cul- context for the prayers and hymns ture and traditions of Tonga will live that women say continually through- on.” I commend the filmmakers for out the film. -
Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change
The I and the We: Individuality, Collectivity, and Samoan Artistic Responses to Cultural Change April K Henderson That the Samoan sense of self is relational, based on socio-spatial rela- tionships within larger collectives, is something of a truism—a statement of such obvious apparent truth that it is taken as a given. Tui Atua Tupua Tamasese Taisi Efi, a former prime minister and current head of state of independent Sāmoa as well as an influential intellectual and essayist, has explained this Samoan relational identity: “I am not an individual; I am an integral part of the cosmos. I share divinity with my ancestors, the land, the seas and the skies. I am not an individual, because I share a ‘tofi’ (an inheritance) with my family, my village and my nation. I belong to my family and my family belongs to me. I belong to my village and my village belongs to me. I belong to my nation and my nation belongs to me. This is the essence of my sense of belonging” (Tui Atua 2003, 51). Elaborations of this relational self are consistent across the different political and geographical entities that Samoans currently inhabit. Par- ticipants in an Aotearoa/New Zealand–based project gathering Samoan perspectives on mental health similarly described “the Samoan self . as having meaning only in relationship with other people, not as an individ- ual. This self could not be separated from the ‘va’ or relational space that occurs between an individual and parents, siblings, grandparents, aunts, uncles and other extended family and community members” (Tamasese and others 2005, 303). -
Moana: a Romance of the Golden Age (1926) Film Screening
Moana: A Romance of the Golden Age (1926) Film Screening Thursday 1st September 6.00pm Ticket and a drink $12.00 Students $10.00 Hosted by Ngā Taonga Sound & Vision Stout Research Centre for New Zealand Studies, Victoria University of Wellington Moana Symposium Programme Friday 2 SeptemBer 2016 9.00-9.15am Introduction Rebecca Elvy (CE Ngā Taonga Sound & Vision), Assoc. Prof. (Hon.) Luamanuvao Winnie Laban, Prof. Lydia Wevers. 9.15-9.30am An excerpt from the documentary on the work of Robert Flaherty. Lisa Taouma (TheCoconet.TV) 9.30am-9.45am Preservation explained, the process of film restoration/digitisation. Dr Leslie Lewis [Moving Image Conservator, Ngā Taonga Sound & Vision]. 9.45am-11.00am Panel: Pasifika Film responds to Moana Chair: Victor Rodger [Playwright/screenwriter/F.C.C company]. Panellists: Makerita Urale [Filmmaker/Producer] Sima Urale [Filmmaker] Tusi Tamasese [Filmmaker] Karin Williams [Film/Theatre Producer] Whetu Fala [Film Producer] Nathaniel Lees [Actor/director/producer] 11.00-11.15am Morning Tea 11.15-12.00pm How does Moana look to us now? Session 1 Chair: Herbert Bartley [Pacific Liaison, Massey University] Speakers: Responses from Va’aomanu Students 12.00-12.45pm Session 2 Chair: Le’ausalilo Sadat Muaiava [Lecturer, Samoa Studies] Speaker: Dr Sailau Suaalii-Sauni [Senior Lecturer, Samoa Studies] 12.45-1.45pm Lunch 1.45-2.30pm Thinking about Moana Session 3 Chair: Tupe Lualua [Choreographer/Director: Le Moana Dance Company] Speaker: Dr Teresia Teaiwa [Director, Pacific Studies, VUW] 2.30-3.15pm Session 4 Chair: -
Discussion Paper November 2012 Contents
Pacific Arts ARTS COUNCIL OF NEW ZEALAND TOI AOTEAROA Discussion Paper November 2012 Contents Introduction 5 A focus on Pacific Arts 5 The Pacific Islands’ peoples of New Zealand 5 This paper 5 Publication of feedback and submissions 6 Who are “the Pacific Islands’ peoples of New Zealand” 6 PART A: Pacific Arts – a major feature of New Zealand arts and culture 7 A rich tradition informing and shaping contemporary practice 7 Diverse 8 Growing in importance and appeal 8 Community-focussed 9 Globally connected 10 Young 10 High-achieving 10 PART B: Supporting a dynamic Pacific Arts ecology 11 Creative New Zealand 11 Strategic purpose 11 Creative New Zealand’s structural context 11 Defining Pacific Arts – the issues 12 Pacific Heritage Arts 12 Contemporary Pacific Arts 12 Pacific Identity 12 Dedicated Funding 12 Kaupapa Pasifika 13 Contents The infrastructure of Pacific Arts 13 Creative New Zealand’s arts infrastructure support – recent changes 13 A Sector Development approach 14 Toi Tōtara Haemata Investment programme 14 Toi Uru Kahikatea Investment programme 15 Sector Development Incentives 16 Strengthening the Pacific arts infrastructure 16 The Pacific arts sector 16 The wider arts sector 17 Creative New Zealand’s part 17 What has Creative New Zealand’s support looked like in recent years? 18 Funding 18 Funding by funding programme 19 Funding by Funding Bodies 19 Creative Communities Scheme 19 Special Opportunities 20 Discussion 22 Capability-Building 23 Targeting capability 23 Pacific Arts Audience Development – domestically 23 Pacific -
Mongrel Media
Mongrel Media Presents BOY A Film by Taika Waititi (90 min., New Zealand, 2011) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html FACT SHEET Title: BOY Writer/Director: Taika Waititi Producers : Ainsley Gardiner, Cliff Curtis, Emanuel Michael Co-Producer : Merata Mita Associate Producer: Richard Fletcher Production Company : Whenua Films, Unison Films In association with : The New Zealand Film Production Fund Trust, The New Zealand Film Commission, NZ On Air, Te Mangai Paho. Running Time : 90 minutes approx Starring : James Rolleston, Te Aho Eketone-Whitu, Taika Waititi Director of Photography : Adam Clark Editor : Chris Plummer Music : The Phoenix Foundation Production Designer : Shayne Radford Hair and Makeup: Danelle Satherley Costume Designer : Amanda Neale Casting: Tina Cleary SHORT SYNOPSIS The year is 1984, and on the rural East Coast of New Zealand “Thriller” is changing kids’ lives. Inspired by the Oscar nominated Two Cars, One Night, BOY is the hilarious and heartfelt coming-of-age tale about heroes, magic and Michael Jackson. BOY is a dreamer who loves Michael Jackson. He lives with his brother ROCKY, a tribe of deserted cousins and his Nan. Boy’s other hero, his father, ALAMEIN, is the subject of Boy’s fantasies, and he imagines him as a deep sea diver, war hero and a close relation of Michael Jackson (he can even dance like him). -
Annual Report 2008-09
G19 NZ Film Commission Annual Report 2009 G19 Contents Report of the Highlights ................................................................................... 2 Chair’s introduction ................................................................... 4 New Zealand From the Chief Executive .......................................................... 5 Goal 1: To create significant cultural capital with quality Film Commission New Zealand films ..................................................................... 6 Goal 2: To build a talent pathway ............................................ 10 Goal 3: To maximize the domestic profile of NZ films for the year ended 30 June 2009 and the NZ public’s access to them ......................................... 14 In accordance with Sections 150 Goal 4: To maintain a high international profile to 157 of the Crown Entities for New Zealand films and filmmakers .................................. 18 Act 2004, on behalf of the Goal 5: To maintain strong stakeholder relationships .......... 22 New Zealand Film Commission we present the Annual Report Goal 6: To maintain standards of good covering the activities of the governance, business practice and accountability ................24 NZFC for the 12 months ended 30 June, 2009. Statement of Responsibility .................................................... 28 Financial Statements ............................................................... 29 Statement of Service Performance ........................................48 Audit Report ............................................................................ -
MC Trey: the 'Feline Force' of Australian Hip Hop Tony Mitchell
ARTIST PROFILE MC Trey: The ‘Feline Force’ of Australian Hip Hop Tony Mitchell A Hip Hop Role Model Fijian-Australian MC Trey, aka Thelma Thomas, is arguably Australia’s leading female MC, who has begun to receive prominent mainstream media coverage for her Pacific Islander style, dynamic live performances, distinctively street-wise and musically diverse recordings, and her hip hop workshops. Described by Andrew Drever in the Sydney Morning Herald as ‘one of Australian hip hop’s true role models,’1 to date she has released two acclaimed mini-albums, the ten-track Daily Affirmations (2000)—described as a ‘landmark for the Australian hip hop scene’ and album of the week in Sydney street mag Revolver2—and the eight-track Tapastry Tunes (2003), described by George Palathingal in the Sydney Morning Herald’s ‘Metro’ as ‘[d]emonstrating potentially the biggest leap forward for Australian hip hop.’3 Trey (initially an anagram for ‘The Rhymin’ Edifying Young’un’) has also contributed tracks to numerous Australian hip hop compilations, most notably the all-woman First Words (2000), released on Sydney-based label Mother Tongues, described by label founder Heidi Pasqual as ‘the first label in the world dedicated to the development of Women in Hip Hop Music.’ On the US release Best of International Hip Hop (Hip-O Universal, 2000) she represents Australia with her ‘melodic, realistic, personal, political, positive’ MC style, alongside a host of non-Anglophone male MCs and crews from Argentina, Algeria, Switzerland, Israel, Romania, Greece, Austria, Greenland, Croatia, France, South Africa and Portugal. Trey’s track on the international hip hop compilation, ‘Feline Forces,’ is about the African- American and Australian women in hip hop who have influenced her, from Roxanne Shante to MC Lyte, Baby Love, MC Que and local graffiti artist and MC Charlene aka Spice, who ‘in ’88 dropped the first Aussie female tune’ (on the Virgin compilation of Australian hip hop 1 Andrew Drever, ‘Trey bien,’ Sydney Morning Herald 27 June 2003: ‘Metro’ 10. -
When Applying for Funding, the New Zealand Film Commission States “We Fund Projects That Have Significant New Zealand Content”
When applying for funding, the New Zealand Film Commission states “We fund projects that have significant New Zealand Content”. The dilemma to this eligibility requirement is that even the broadest definition of “New Zealandness” is exclusive, creating altruistic categories of “us” and “them.” Thus, through whimsy and humour, A New Zealand Film engages with issues of national identity, filmic representation, anthropology and critical design to highlight the real, complex, dynamic histories and multicultural factors that make up New Zealand identity. Mata Freshwater is a recent graduate of Design, Film and Cultural Anthropology from Victoria University of Wellington. Passionate about ethnography and speculative design, Mata explores big ideas in entertaining, creative outputs, particularly video production, illustration and photography. Mata recently participated in the 48hours competition that took place on 1-3 May 2015, and is currently working on an animated short film ‘Shmeat’ to be released end of 2015. Mata Freshwater A New Zealand Film 2012 Animation film (2:10 minutes) Coffee & Allah is a film about a young Muslim woman’s appetite for coffee, Islam and a good game of badminton. When Oromo Ethiopian, Abeba Mohammed, moves to suburban Mt. Albert to unite with her sister under the refugee family reunion quota, she has nothing but her faith in Allah, a taste for Ethiopian coffee, and a zest for life to sustain her. From behind her purdah, and no knowledge of English, Abeba struggles to make a connection with the people of her new homeland. Nonu, a Samoan barista at the local coffee shop takes a shine to her. Sima Urale is a Wellington-based filmmaker who has won national and international awards. -
Still Life Press
Still Life Best Short Film - Montreal World Film Festival 2001 Telleride Film Festival 2001 Sundance Film Festival 2002 PresskitPresskit TEL: 64 4 382 7680 FAX: 64 4 384 9719 PO BOX 11 546 WELLINGTON __________________________________________________________________ LEVEL 2 THE FILM CENTRE 119 JERVOIS QUAY WELLINGTON NEW ZEALAND www.nzfilm.co.nz [email protected] Production Notes Writer: Sima Urale Director: Sima Urlae Producer: Anna Rasmussen Production Company: Niu Movies Ltd Colour 11 minutes 35 mm 1:1:85 Dolby Digital Log Line Director’s True love never dies. Notes “I love seeing elderly people on screen, Synopsis whether its commercials, soaps, or movies. Everything is so youth-orientated today, Still Life explores how love overcomes romantic movies are always about the physical pain. An elderly couple, who young and the beautiful, so I wanted to decide to throw away life to re-unite in make a short film about real and lasting death, fnd that great love defies all. love. In a way, if they had lived to see it, Still Life is about Romeo and Juliet fifty years on”. Still Life Director’s Biography Sima Urale Sima Urale was born in Savaii, Samoa. Sima has been directing commercials in New Her family immigrated to New Zealand Zealand as well as abroad. She is currently in 1974. She is a graduate of the New writing her first feature film. Zealand Drama School (1989). After two years of stage acting in various productions throughout New Zealand, she was accepted into the Victorian College of the Arts Film and Television School, where she studied film-making for three years. -
PROMOTING DIVERSITY of CULTURAL EXPRESSION in ARTS in AUSTRALIA a Case Study Report
PROMOTING DIVERSITY OF CULTURAL EXPRESSION IN ARTS IN AUSTRALIA A case study report Dr Phillip Mar Institute for Culture and Society, Western Sydney University Distinguished Professor Ien Ang Institute for Culture and Society, Institute for Culture Western Sydney University and Society DIVERSITY OF CULTURAL EXPRESSIONS Published under Creative Commons Attribution-Noncommercial-NonDerivative Works 2.5 License Any distribution must include the following attribution: P.Mar & I.Ang (2015) Promoting Diversity of Cultural Expressions in Arts in Australia, Sydney, Australia Council for the Arts. ABOUT THE AUTHORS Dr Phillip Mar Phillip Mar is an anthropologist by training, with research interests in migration, political emotions, contemporary art and cultural policy. Since 2008, Phillip Mar has been a researcher at the Centre for Cultural Research / Institute for Culture and Society, Western Sydney University. Distinguished Professor Ien Ang Ien Ang is a Distinguished Professor of Cultural Studies at the Institute for Culture and Society (ICS) at Western Sydney University. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences, focusing broadly on the processes and impacts of cultural flow and exchange in the globalised world. Her books, including Watching Dallas, Desperately Seeking the Audience and On Not Speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean and Spanish. Her most recent book, co-edited with E. Lally and K. Anderson, is The Art of Engagement: Culture, Collaboration, Innovation (2011). She is also the co-author (with Y. -
Party Warehouse Karaoke & Jukebox Song List
Party Warehouse Karaoke & Jukebox Song List Please note that this is a sample song list from one Karaoke & Jukebox Machine which may vary from the one you hire You can view a sample song list for digital jukebox (which comes with the karaoke machine) below. Song# ARTIST TRACK NAME 1 10CC IM NOT IN LOVE Karaoke 2 10CC DREADLOCK HOLIDAY Karaoke 3 2 PAC CALIFORNIA LOVE Karaoke 4 4 NON BLONDES WHATS UP Karaoke 5 50 CENT IN DA CLUB Karaoke 6 A HA TAKE ON ME Karaoke 7 A HA THE SUN ALWAYS SHINES ON TV Karaoke 8 A1 CAUGHT IN THE MIDDLE Karaoke 9 AALIYAH I DONT WANNA Karaoke 10 ABBA DANCING QUEEN Karaoke 11 ABBA WATERLOO Karaoke 12 ABBA THANK YOU FOR THE MUSIC Karaoke 13 ABBA SUPER TROUPER Karaoke 14 ABBA SOS Karaoke 15 ABBA ROCK ME Karaoke 16 ABBA MONEY MONEY MONEY Karaoke 17 ABBA MAMMA MIA Karaoke 18 ABBA KNOWING ME KNOWING YOU Karaoke 19 ABBA FERNANDO Karaoke 20 ABBA CHIQUITITA Karaoke 21 ABBA I DO I DO I DO I DO I DO Karaoke 22 ABC POISON ARROW Karaoke 23 ABC THE LOOK OF LOVE Karaoke 24 ACDC STIFF UPPER LIP Karaoke 25 ACE OF BASE ALL THAT SHE WANTS Karaoke 26 ACE OF BASE DONT TURN AROUND Karaoke 27 ACE OF BASE THE SIGN Karaoke 28 ADAM ANT ANT MUSIC Karaoke 29 AEROSMITH CRAZY Karaoke 30 AEROSMITH I DONT WANT TO MISS A THING Karaoke 31 AEROSMITH LOVE IN AN ELEVATOR Karaoke 32 AFROMAN BECAUSE I GOT HIGH Karaoke 33 AIR SUPPLY ALL OUT OF LOVE Karaoke 34 ALANIS MORISSETTE YOU OUGHTA KNOW Karaoke 35 ALANIS MORISSETTE THANK U Karaoke 36 ALANIS MORISSETTE ALL I REALLY WANT Karaoke 37 ALANIS MORISSETTE IRONIC Karaoke 38 ALANNAH MYLES BLACK VELVET Karaoke