Journey to Ihipa Press
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 ............................................................................ -
Jarod Rawiri. Height 185 Cm
Actor Biography Jarod Rawiri. Height 185 cm Awards. 2011 Aotearoa Film &Television Awards-Finalist Best Performance by an Actor-What Really Happened: Waitangi 2011 Chapman Tripp Theatre Awards Nominee - Outstanding Performance in I, George Nepia. 2002 The Chapman Tripp Theatre Awards Nomination-Best Newcomer Feature Film. 2012 Fantail Dean Yes Please Films Ltd &Curious Films (Core) Dir. Curtis Vowell Prd. Sarah Cook 2009 Matariki Rick Filmwork (Matariki )Ltd (Lead) Dir. Michael Bennett Prd. Fiona Copland 2007 A Song of Good Howie Robber 's Dog Films (Support) Dir. Gregory King Prd. Mark Foster 2007 Jinx Sister Sam Ample Films (Lead) Dir. Athina Tsoulis Prd. Larry Justice Short Film. 2004 Tama Tu Tom Aio Films /Defender Films (Lead) Dir. Taika Cohen Prd. Cliff Curtis&Ainsley Gardiner 2004 Tangi Matu Blue Skin Productions (Lead) Dir. Michael Bennett 2004 Kerosene Creek Robbie Blueskin Films (Lead) Dir. Michael Bennett Prd. Catherine Fitzgerald 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 Jarod Rawiri. Page 2 Short continued... 2002 Spring Flames Salvatore New Zealand Film School (Lead) Dir. Aileen O'Sullivan 2001 The Weekend Golfer Bogie New Zealand Film School (Lead) Dir. Mark Ruka Television. 2021 Mean Mums Season 3 Bob South Pacific Pictures (Recurring Guest) Dir. Robyn Grace 2021 The Brokenwood Mysteries Season 8 Daniel Chalmers South Pacific Pictures (Lead) Dir. Various 2021 Ahikāroa Season 4 Richard Kura Productions (Support) Dir. Various 2020 Mean Mums - Series 2 Bob South Pacific Pictures (Support) Prd. South Pacific Pictures 2020 Shortland Street Mo Hannah South Pacific Pictures (Guest) Dir. -
Tuesday, July 13, 2021
TE NUPEPA O TE TAIRAWHITI TUESDAY, JULY 13, 2021 HOME-DELIVERED $1.90, RETAIL $2.20 GIVING IT ‘UNFORGIVABLE’: HIS ALL IN COVID-19 PAGES 6-7, 13 • Kiwis’ failed flight bids ‘soul-destroying’ RACIST CANCER • Call for haste in vaccinating border workers PAGE 14 BATTLE • 13 more positive tests on fishing boat ABUSE PAGE 5 • Outbreaks intensify in Sydney, Fiji CONDEMNED ‘Total opposition’ Hapu calls for end to East Coast barge proposal by Alice Angeloni AN East Cape hapu will hikoi in continued protest against a coastal barging operation proposed for their isolated town. Te Whanau a Hinerupe say the marine ecology is already in “crisis” and a proposal to build a barging facility at the mouth of the Karakatuwhero River will send it beyond a state of repair. Whanau say they are not just tangata whenua (people of the land) but also tangata moana (people of the ocean), and they must be the voice for that which cannot speak for itself. About 30 people attended a hui at Hinerupe Marae in Te Araroa on Sunday and voted to “reaffirm” Te Whanau a Hinerupe’s stance of “total opposition” to a barging facility on the East Coast between Potikirua and Whangaokeno. VOICE FOR THAT WHICH CANNOT SPEAK: They called for an end to the barge Te Whanau a Hinerupe reaffirmed their stance against a proposed barging proposal and set down August 14 as a facility on the East Coast at a hui on Sunday. Picture by Alice Angeloni date to hikoi. It follows a decision made at the hui in May. -
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. -
New Zealand Film Productions, 1990-2019
NEW ZEALAND FILM PRODUCTIONS, 1990-2019 TITLE PRODUCTION CO. PRODUCERS SCRIPT DIRECTOR DOP PROD DESIGNER COSTUME DESIGN EDITOR SOUND DESIGN 100 MEN * Documentary Department of Post Vincent Burke Paul Oremland Paul Oremland Stuart Boone 2017 220 MILES * Documentary Link Productions Andrew James, Richard Richard Allan Litt Richard Allan Litt 2018 Allan Litt 43,000 FEET * Feature Special Problems Amber Easby, Heather Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley 2012 Lee 50 WAYS OF SAYING MF Films Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes FABULOUS * Feature 2005 5TH EYE, THE * CutCutCut Films Errol Wright Abi King-Jones, Errol Abi King-Jones Documentary 2016 Wright 6 DAYS * Feature 2017 General Film Corporation Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Philip Ivey Liz McGregor Dan Kircher 7 DAYS I-X * Teleseries Thedownlowconcept Jon Bridges, Rob Brown Josh Samuels, Sam Smith, Nigel Carpenter Luke Thompson Jason Pengelly, 2010-18 Amanda Alison, Aaron Sacha Campbell, John Beard, Dean Butler, Ed Whiteside Caruthers, Alex Casey, Andrew Fergus, Dean Watson + various 800 WORDS I-III * South Pacific Pictures, Chris Bailey, John James Griffin, Maxine Mike Smith, Pino Fred Renata, Dave Gary Mackay, Greg Sarah Aldridge Eric De Beus, Paul Thomas Miskin Teleseries 2015-18 Seven Productions Holmes, Kelly Martin, Fleming, Timothy Balme, Amenta, Michael Hurst, Garbett Allison Sutorius, Gary Hunt Julie McGauran, Chris Kate McDermott, Natalie Murray Keane -
Contesting Representations of Diasporic Pacific Identities
Between Marginality and Marketability: Contesting Representations of Diasporic Pacific Identities Paloma Fresno-Calleja, University of the Balearic Islands Abstract This article offers an analysis of recent works by New Zealand-born writers and artists of various Pacific descents. It focuses on their revision of popular and institutional representations of the diasporic Pacific community addressing the ambivalent tensions between the marginal and the marketable, which have dominated these representations in the last decades. On the one hand, these works condemn stereotypes of Pacific peoples as a burden to the New Zealand economy and a marginalised minority of inefficient, lazy or dependent people. On the other, they address more recent and complex representations of their culture as a marketable commodity and an exotic addition to New Zealand culture. Keywords: Pacific literature; Pacific diaspora; New Zealand’s ethnic minorities; representation; ethnic stereotypes Introduction In the last few decades New Zealand society has experimented radical changes due to increasing and more diverse immigration flows arriving in the country from the late 1980s. These demographic and social transformations have resulted in the consolidation of new economic patterns and social relations. This article focuses on how some of these changes have affected the New Zealand Pacific community and how New Zealand-born writers and artists of various Pacific descents have engaged in the revision of popular and institutional representations of the diasporic Pacific -
Conference Handbook & Book of Abstracts
PACIFIC CLIMATE CHANGE CONFERENCE 21-23 FEBRUARY 2018 TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND 2ND PACIFIC CLIMATE CHANGE CONFERENCE 2018 Hosted by Victoria University of Wellington and Secretariat of the Pacific Regional Environment Programme 21-23 FEBRUARY 2018 TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND CONFERENCE HANDBOOK & BOOK OF ABSTRACTS www.PacificClimateChange2018.nz #pccc2018 PACIFIC CLIMATE CHANGE CONFERENCE PACIFIC CLIMATE CHANGE CONFERENCE 21-23 FEBRUARY 2018 21-23 FEBRUARY 2018 TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND We are very grateful for the support of our conference sponsors. HOSTS FUNDING FOR PACIFIC ISLANDS PARTICIPATION PRINCIPAL SPONSORS SESSION SPONSORS Climate change media and Materials for Climate Public Lecture: Law as International cooperation after the communication workshop Change Remediation an Activism Strategy Paris Agreement. What makes sense for the Pacific? Delegation of the European Union to New Zealand CONFERENCE APP SPONSOR CONFERENCE LANYARD SPONSOR EXHIBITORS 2 PACIFIC CLIMATE CHANGE CONFERENCE PACIFIC CLIMATE CHANGE CONFERENCE 21-23 FEBRUARY 2018 21-23 FEBRUARY 2018 TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND TE PAPA TONGAREWA, WELLINGTON, NEW ZEALAND Welcome Contents Page Welcome Event Supporters 2 Kia ora, Talofa, and warm Welcome 3 Pacific greetings! It is our Schedule 4 – 12 great pleasure to welcome General Information 13 you to PCCC2018, the 2nd Workshops, Public Lectures 14 – 15 Pacific Climate Change & Social Functions Conference co-hosted by SPREP and VUW. If you Conference Committee 16 are from out of town, welcome also to Wellington, the “coolest little capital”. Our organising committee Keynote Speakers 17 – 20 have put together a really broad, vibrant and exciting Invited Speakers 21 – 23 programme over the three days of the conference, Sponsors Company Profiles 24 – 25 surely something for everyone.