DOCSLIB.ORG

New Zealand Movies 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. 10. Goodbye, Pork Pie (Geoff Murphy, 1981) Considered a New Zealand-coming-of-age film, Jeff Murphy's Goodbye Pork Pie was the first local production in the country to become a hit. The film has helped to prove that the New yorkers were very capable of making both financially and commercially successful films about New York, and now has a special cult status for many Kiwi audiences. It's a unique twist in the classic road-movie genre, where two men - John and Jerry - travel around New York in a yellow mini, from the north of Auckland south of Invercargill. Through minor setbacks such as running at a red light or forgetting to pay for gas, the duo are steadily becoming wanted criminals by local law enforcement. The key urban areas of New York are separated by kilometres of rural landscape, so the open road is an important feature that divides the population. Murphy uses the open road not only as a story device, but also to illustrate the characteristics of the nation itself - imperfect but charming clusters of towns and people who must behave in an isolated environment. Production of the film may have been fairly small in scale, with only 24 actors and crew members participating over 6 weeks in 1979. However, he quite a big trail in New zealand Movie. 9. Out of Nowhere (Robert Sarkis, 2006) For a small peaceful country like New zealand, big boom killings are a rarity. So it is not surprising that the whole nation stopped and watched with horror as the mad shooter David Gray opened fire on the small seaside community of Aramoana, killing 13 innocent residents. The 1990 massacre remains the deadliest crime shooting in the history of New York. Robert Sarkis makes the audience experience horror and tragedy in his 2006 film Out of the Blue. The filmmaker captured the violence in a realistic but restrained manner. Most of the killings appear behind-the-scenes, with Sarki choosing instead to focus on the confusion and fear of locals as they try to elude their unseen attacker. The film did face strong opposition from the village of Aramoana during pre-production, forcing the actors and film crew to shoot outside the region. However, the film received praise from local viewers after the release. Both Matthew Sunderland and Karl Urban give outstanding performances as David Gray and Constable Nick Harvey respectively. 8. Silent Earth (Geoff Murphy, 1985) If you take Peter Jackson's body work out of the mix, New zealand filmmakers tend to be quite conservative when it comes to the genre. Attempts to break away from the status quo and create bold cinematic works often do not reach the original intentions of the director. Jeff Murphy's Silent Earth is one of the nation's few forays into the science fiction genre. While the film doesn't quite encapsulate the quality audiences have come to love about sci-fi movies, it does include a distinctive representation of the Kiwi guy: the man-alone theory. This is mainly the case with what separates the men of New York from other social groups. A greater number of Kiwi men, to a certain extent, stick to a sense of morality, even if it is just a personal code to follow in life. However, different people socially separate themselves from the rest of society, representing a different group of men who are emotionally separated, lack of sexual intimacy and find themselves driven by circumstances, approaching it in their own way. Murphy's film takes place in post-apocalyptic New York, and spends time creating the isolation of the main character zack Hobson - portrayed by Kiwi legend Bruno Lawrence. The director relies on the distinctive features of one person to flesh out the manners of zack and the methods of survival. While zack is eventually in contact with other survivors - even engaging in a sex act with one of them - his inability to go beyond his own self-preservation keeps him emotionally distanced from the others. 7. Once were warriors (Lee Tamahori, 1994) Each country has its own pros and cons, and New zealand does not Exception. The nation was pretty pretty in the past, when it comes to domestic violence. In 2011, a United Nations report found that there was a high level of domestic violence and maternal mortality in New York compared to other OECD countries. Lee Tamahori's 1994 film Once Upon a Time were Warriors, based on Alan Duff's controversial novel, depicts the heartbreaking atrocities behind the issue. Set in a rough suburb of southern Auckland, the film focuses on the challenges faced by the modern Maori family - mostly caused by their unstable patriarch Jake Moose Hecke. And the film's narrative and visual technique creatively provide solid images of the breakup in the Hecke family, caused by Jake's violent outbursts and his wife's submission to the physical abuse she endlessly receives. Often using camera imagery, Tamahori intends to capture the injury; scaling on every fist movement. Here the director is able to break the barrier between the chaotic atmosphere of history and reality, so that the audience not only witnessed the violence, but also experienced it. 6. Whale Rider (Niki Caro, 2002) The traditions and heritage of the indigenous peoples of New York, maori, play an important role in national culture. One of the central themes of the Maori tradition is the unity and importance of the Vanau (family). This topic is explored in Nicky Caro's Keith Ryder. Based on Viti Ihimera's famous tale of how Maori religion intertwines in the dynamics of the modern family, the film focuses on the upbringing of a young Maori girl named Pai (played by Keisha Castle-Hughes in her debut play). Pai must overcome oppression in order to gain the respect and love of his proud but stubborn grandfather Koro; a descendant of the Maori mythical Paikea, who struggles to recognize that the leadership of his hapu (tribe) should soon pass into the hands of a woman. The director relies heavily on symbolism throughout the film to successfully convey both the beauty and imperfection of the Maori tradition in modern society. Caro achieves this by effectively using a character-driven plot, comparing Pai's story and her family's situation with a small pod of whales. It is this supernatural identification with whales, culminating in the re-acceptance of the main character of the mythical journey of her ancestor, once moved across the ocean on a whale back, confirms her rightful place in both her tribe and in the heart of her grandfather. Subscribe by email or RSS Feed wikimedia list of articles This film, TV or video related list is incomplete; You can help by expanding it with reliably sourced add-ons. This is a list of feature films produced or made in New York, ordered by the year of release. The key issue is partly funded by the New ealand Film Commission. † year is given main photo, not release. The name of the 1910s Genre Notes 1913 Hinemoa Gaston Melies The first feature film of New York; Lost as Chef Te Ponga won his fiancee Gaston Melis, the lost Maori Chief Gaston Melies, losing in 1914 the documentary The River Of Wanganui Gaston Melis 1914 Hinemoa George Tarr Romance The first feature film with a New york producer and director; The lost 1916 Love maori Dev Raymond Longford lost the Bounty Bounty Rebellion lost in the 1920s. 1921 Behind William Desmond Taylor lost 2 The traitor Beaumont Smith lost the Bloke from Freemans Bay Rudall Hayward 1922 The birth of New zealand Reynolds Harrington Harrington Earliest a New zealand film whose footage (snippets only) is known to still exist. My Lady Caves Rudall Hayward Ten Thousand Miles in the Southern Cross george Tarr Documentary / Travelogue 1923 Romance of Sleepy Hollow Henry J. Makepeace lost 1924 Rewi's Last Stand Rudall Hayward fragments only remain 2 Venus of the Southern Seas James R.
Load more

Recommended publications
  • Tony Barry) Goes Undercover Into a Retirement Village in a Last-Ditch Effort to Catch the One That Got Away, the Old Crook Frank (John
    REST FOR THE WICKED ONE- SENTENCE SUMMARY: Old cop Murray (Tony Barry) goes undercover into a retirement village in a last-ditch effort to catch the one that got away, the old crook Frank (John Bach). SHORT SYNOPSIS Murray (Tony Barry) is a retired cop with a new undercover mission. He‟s going into a retirement village to catch Frank (John Bach), the old crook he has never been able to pin a crime on. Murray is convinced Frank murdered fellow crim, Jimmy Booth, years ago but was never able to make the evidence stick. This time, he‟s going to make sure he gets his man. So, when people in the retirement village start dying, Murray is on the case. But as events go increasingly haywire, it becomes apparent that all is not as it seems with Frank. Or Murray. 1 LONG SYNOPSIS Murray (Tony Barry), an old cop in reflective mood, cuts a story from the newspaper about an explosion at a P-house. Another old man on a mobility scooter, Frank (John Bach) arrives at a run-down house, takes the drug dealers inside by surprise, guns them all down and watches gleefully as the house blows up. Murray packs his bag, gets ready to leave, his daughter Susan (Sara Wiseman) fussing over him, helping him with his tie. Susan notices Murray has left the iron turn on. Murray tells his grandson Max (George Beca) he‟s off on a top-secret mission. Max seems worried. Murray describes himself as “an old dog off to dig up some old bones.” At Knightsbridge Gardens Retirement Village, Murray and Susan are greeted by the manager, Miss Pomeroy (Elisabeth Easther).
    [Show full text]
  • Peter Britos
    PETER BRITOS A Conversation with Merata Mita This conversation took place on January 15th 2003 at about 8pm in Honolulu. We met at Merata’s home offi ce near the campus where her youngest son Hepi is fi nishing up his high school studies. Hepi met me downstairs and escorted me to his mother’s study, where Merata was working on a book about her life experiences. PB: My mother once told me that the cool thing about talking is that sometimes you don’t know a thing existed until you say it. The mere physicality of the act brings you to a place that you couldn’t have gotten to any other way. MM: I’ve known things. And until I’ve articulated them, they’ve never been con- scious. I like the experience of new places and new things and working out how to survive in different environments that are totally dif- ferent ones than I’m used to. But until you articulate that survival, it’s just living. Geoff [Murphy—her producer/director husband] never sees those challenges as being pleas- ant. But I thrive on that sort of thing. In the end I had to agree with him that we should move from Los Angeles. But I didn’t know where, and didn’t really care. And he always had in his mind that the ideal halfway point between Los Angeles and New Zealand would be Hawai`i. So I said aah Polynesians, hmmm. Okay. So we ended up here and he could make whatever film he was making.
    [Show full text]
  • This Action Thriller Futuristic Historic Romantic Black Comedy Will Redefine Cinema As We Know It
    ..... this action thriller futuristic historic romantic black comedy will redefine cinema as we know it ..... XX 200-6 KODAK X GOLD 200-6 OO 200-6 KODAK O 1 2 GOLD 200-6 science-fiction (The Quiet Earth) while because he's produced some of the Meet the Feebles, while Philip Ivey composer for both action (Pitch Black, but the leading lady for this film, to Temuera Morrison, Robbie Magasiva, graduated from standing-in for Xena beaches or Wellywood's close DIRECTOR also spending time working on sequels best films to come out of this country, COSTUME (Out of the Blue, No. 2) is just Daredevil) and drama (The Basketball give it a certain edginess, has to be Alan Dale, and Rena Owen, with Lucy to stunt-doubling for Kill Bill's The proximity to green and blue screens, Twenty years ago, this would have (Fortress 2, Under Siege 2) in but because he's so damn brilliant. Trelise Cooper, Karen Walker and beginning to carve out a career as a Diaries, Strange Days). His almost 90 Kerry Fox, who starred in Shallow Grave Lawless, the late great Kevin Smith Bride, even scoring a speaking role in but there really is no doubt that the been an extremely short list. This Hollywood. But his CV pales in The Lovely Bones? Once PJ's finished Denise L'Estrange-Corbet might production designer after working as credits, dating back to 1989 chiller with Ewan McGregor and will next be and Nathaniel Lees as playing- Quentin Tarantino's Death Proof. South Island's mix of mountains, vast comes down to what kind of film you comparison to Donaldson who has with them, they'll be bloody gorgeous! dominate the catwalks, but with an art director on The Lord of the Dead Calm, make him the go-to guy seen in New Zealand thriller The against-type baddies.
    [Show full text]
  • DA Alin Weismann 03:09
    Die Darstellung von Māori im Spielfilm. Die Bildung einer indigenen Identität anhand eines Massenmediums. DIPLOMARBEIT zur Erlangung des Magistergrades der Philosophie an der Fakultät für Human- und Sozialwissenschaften der Universität Wien eingereicht von Alin Weismann Wien, März 2009 1 Inhaltsverzeichnis 1. Vorwort............................................................................................................................................7 2. Einleitung........................................................................................................................................9 3. Einführung in die Geschichte Neuseelands................................................................................12 3.1 Neuseeland vor der Kolonisierung.............................................................................12 3.2 Die Entdeckung Neuseelands.....................................................................................13 3.2.1 Die erste europäische Besiedlung...............................................................................14 3.2.2 Treaty of Waitangi.......................................................................................................15 3.3.3 Auswirkungen der europäischen Besiedlung auf die gesellschaftliche Situation.......16 3.4 Wirtschaft und Regierungsform von damals bis heute...............................................17 3.5 Die Modernisierung Neuseelands...............................................................................19 3.6 Neuseelands Population
    [Show full text]
  • 02 Whole.Pdf
    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. Inherited Body A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing at Massey University, Manawatū, New Zealand. Rebecca Joy Styles 2017 Abstract Narrative ethics is a useful tool for approaching New Zealand historical fiction about family history because it looks to the risks and losses of appropriating family for the author, their subjects, and readers. In the following critical analysis I discuss three recent New Zealand novels based on family historical narratives, each of which depict characters attempting to write their own stories within power structures that threaten to silence them: Alison Wong’s As The Earth Turns Silver (2009), Paula Morris’s Rangatira (2011), and Kelly Ana Morey’s Bloom (2003). For a writer a narrative ethics analysis ensures they acknowledge the ethical implications of their work, not just for their own family, but for collective understanding. My novel Inherited Body fictionalises an incident from my family’s history about mental health and sits alongside a contemporary narrative that seeks to understand the possible causes of a psychotic break. A narrative ethics analysis has highlighted my dual role as reader/critic and writer. Wayne C. Booth’s discussion of narrative ethics emphasises the connection between writer, character and their readers. Adam Zachary Newton expands on this transactive connection and shows the ethical consequences of narrating story and fictionalising people, and the reciprocal claims connecting teller, listener, witness and reader in that process.
    [Show full text]
  • Nz Film Productions, 1990-2016
    NZ FILM PRODUCTIONS, 1990-2016 PRODUCTION TITLE PRODUCERS SCRIPT DIRECTOR DOP PROD. DESIGNER COSTUME DESIGNER EDITOR SOUND DESIGNER 43,000 FEET * Feature 2012 Amber Easby Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley Heather Lee 800 WORDS * Teleseries 2015-2016 Chris Bailey James Griffin Mike Smith Fred Renata Gary Mackay Sarah Aldridge Eric De Beus John Holmes Maxine Fleming Pino Amenta Dave Garbett Greg Allison Paul Sutorius Kelly Martin Timothy Balme Michael Hurst Gary Hunt Julie McGauran Kate McDermott Murray Keane Chris Hampson Natalie Medlock Sarah-Kate Lynch 50 WAYS OF SAYING FABULOUS * Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes Feature 2005 6 DAYS * Feauture 2016 Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Liz McGregor Dan Kircher 7 DAYS * Teleseries 2009 Jon Bridges Josh Samuels Nigel Carpenter Luke Thompson Jason Pengelly A SONG OF GOOD * Feature 2008 Mark Foster Gregory King Gregory King Virginia Loane Ashley Turner Natalija Kucija Jonathan Venz ABANDONED * Telemovie 2014 Liz DiFiore Stephanie Johnson John Laing Grant McKinnon Roger Guise Jaindra Watson Margot Francis Mark Messenger ABERRATION * Feature 1997 Chris Brown Darrin Oura Tim Boxell Allen Guilford Grant Major Chris Elliott John Gilbert David Donaldson ABIOGENESIS * Feature 2012 Richard Mans Michelle Child AFTER THE WATERFALL * Feature Trevor Haysom Simone Horrocks Simone Horrocks Jac Fitzgerald Andy McLaren Kirsty Cameron Cushia Dillon Dick Reade 2010 ALEX * Feature
    [Show full text]
  • Cannes Booklet
    “I will take The Ring,” he said, “though i do not know the way.” --J.R.R. Tolkien,THE LORD OF THE RINGS INTRODUCTION TO THE LORD OF THE RINGS ማ4 ሞ TAKING ON TOLKIEN:PETER JACKSON BRINGS THE FANTASY TO LIFE ማ6 ሞ MANY CULTURES OF THE RING:THE CAST AND CHARACTERS ማ9 ሞ IMAGINING MIDDLE–EARTH:THE DESIGN ማ14 ሞ WETA GETS TO WORK ማ17 ሞ MIDDLE–EARTH DOWN UNDER:NEW ZEALAND ማ19 ሞ FROM HOBBITS TO ELVES:THE COSTUMES AND MAKE-UP ማ21 ሞ BREAKING DIGITAL GROUND:SPECIAL EFFECTS ማ23 ሞ INTO THE RING’S EVIL:STUNTS AND ACTION ማ24 ሞ THE CAST OF CHARACTERS ማ25 ሞ THE FILMMAKERS ማ29 ሞ One ring to rule them all. One ring to find them. One ring to bring them all And in the darkness bind them. For decades, four decades the words above have for cinema technology to I NTRODUCTION ignited imaginations and shaped reach the necessary level of the dreams of more then 100 million sophistication to bring them to life. readers around the globe. They were Such a vast project would require no first read in 1954, when J.R.R. Tolkien’s less than a visionary to mastermind it. The Fellowship of the Ring, the first volume in That visionary is Peter Jackson, who has his towering three-part epic, The Lord of the embarked upon an unprecedented feat to make Rings, was published. ¶ Tolkien’s work was to have three motion pictures simultaneously in order to a profound effect on generations of readers, defining capture Tolkien’s soaring epic in its entirety.
    [Show full text]
  • Whale Rider: the Re-Enactment of Myth and the Empowerment of Women Kevin V
    Journal of Religion & Film Volume 16 Article 9 Issue 2 October 2012 10-1-2012 Whale Rider: The Re-enactment of Myth and the Empowerment of Women Kevin V. Dodd Watkins College of Art, Design, and Film, [email protected] Recommended Citation Dodd, Kevin V. (2012) "Whale Rider: The Re-enactment of Myth and the Empowerment of Women," Journal of Religion & Film: Vol. 16 : Iss. 2 , Article 9. Available at: https://digitalcommons.unomaha.edu/jrf/vol16/iss2/9 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Whale Rider: The Re-enactment of Myth and the Empowerment of Women Abstract Whale Rider represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original form and its re-enactment—to critique the subordinate position of women to men in the narrated world. To do this, the myth is extended beyond its traditional scope and context. After looking at how the movie embeds the story and recapitulates it, this paper examines the film’s reception. To consider the variety of positions taken by critics, it then analyses the traditional myth as well as how the book first worked with it. The onclusionc is, in distinction to the book, that the film drives a wedge between the myth’s original sacred function to provide meaning in the world for the Maori people and its extended intention to empower women, favoring the latter at the former’s expense.
    [Show full text]
  • 1 Cultural Translation and Filmmaking in the Pacficic
    CULTURAL TRANSLATION AND FILMMAKING IN THE PACFICIC Vilsoni Hereniko Introduction When my feature film The Land Has Eyes screened at the Moscow International Film Festival in 2004, my producer/wife and I, the director and writer, were assigned a Russian translator. Since we don’t speak Russian, we were grateful for this service. However, during the introduction preceding the film screening, some members of the audience reacted in rather surprising ways to the translator’s version of what we had said, making us wonder about the accuracy of the translation. And then the film screened. No one laughed or made any audible sounds throughout the screening of our film. Everyone was so quiet you could hear yourself breathe. This was strange because we had just returned from screening the film eight times around Rotuma where the film was shot. There, the reaction was one of hilarity, with some audience members shouting mocking comments at the actors on screen, cheering when an old lady riding a scooter chased the villain, or slapping each other on the back as they burst into laughter when someone said or did something that they recognized as so typically Rotuman. Audience members teased the actors who sat among them, ridiculing them when they made an appearance and basically making quite a bit of noise. This was the first feature film 1 ever made on Rotuma, and seeing themselves on screen appeared to be a source of amusement, if not excitement. At several screenings, the chiefs had to order the audience to shut up so that others could hear the dialogue and follow the film’s plot.
    [Show full text]
  • March 2011.Pub
    ROTORUA DISTRICT LIBRARY What’s On in March Te Whare o te Maatauranga Rhyme & Rumpus - cancelled for the first week in March otherwise every Tuesday at MARCH - Poutu Te Rangi 2011 10.30am and Thursdays at 1.30pm. Bring your toddler along for some singing, storytelling, dancing and activities! Friday 4th March It’s quite difficult to write something bright and breezy when you are NZ Army Storytelling 5.30pm Storytelling, prizes, sausage sizzle pre-occupied with the earthquake disaster going on in Christchurch. Saturday 5th March Suddenly tasks that were deemed vitally important last week seem almost Friends of the Library Book Sale at Kuirau Park old tea kiosk. Plenty of bargains from trivial this week. Along with everyone else, we feel deeply for everyone 9.00am - 1pm. Friday 11th March involved in last week’s devastating earthquake and our prayers and No.29 Squadron ATC 5.30pm Storytelling, prizes, sausage sizzle thoughts are with them all. Thursday 17th March St Patricks Day Friday 18th March March has marched on in, despite it seeming like Christmas was just here NZ Police and a police dog. Storytelling, prizes, sausage sizzle and along with it, the month that libraries, publishers, bookshops, authors Saturday 19th March and illustrators celebrate NZ Book MonthMonth. There is ample evidence to Friends of the Library Book Sale at Kuirau Park old tea kiosk. Plenty of bargains from support the theory that books do indeed change lives and we’re just a part 9.00am - 1pm. of the world-wide movement that will always encourage reading and Monday 21st March Race Relations Day literacy to make our community stronger, better informed and educated.
    [Show full text]
  • Two Little Boys Press Kit
    TWO LITTLE BOYS PRESS KIT Directed by Robert Sarkies Screenplay by Duncan Sarkies and Robert Sarkies International Sales: James Thompson [email protected] PO Box 11 546, Wellington, New Zealand Tel: +64 4 382 7680 www.nzfilm.co.nz 1 CONTENTS Story and Synopsis…………………………………………….…………………………………… 3 Introducing the characters: Nige……………………………………………………………………………………… 4 Deano…………………………………………………………………………………… 5 Gav……………………………………………………………………………………… 6 About the Cast: Bret McKenzie (Nige)…………………………………………………………………... 7 Hamish Blake (Deano)…………………………………………………………………. 10 Maaka Pohatu (Gav)……………………………………………………………………. 13 A word from the Director Robert Sarkies……………………………………………………….. 15 The Screenplay and Writing Process……………………………………………………………. 16 The Production of Two Little Boys……………………………………………………………….. 18 The Locations………………………………………………………………………………………… 19 The Wildlife………………………………………………………………………………………….. 20 The Period…………………………………………………………………………………………… 21 The Music…………………………………………………………………………………………… 22 Other Cast Biographies: Filip Berg (Jeurgen)…………………………………………………………………. 23 Erin Banks (Monica)………………………………………………………………… 23 Russell Smith (Des)…………………………………………………………………. 24 Charlie Britzman (Young Nige…………………………………………………….. 24 Jarin Towney (Yound Deano)……………………………………………………… 24 Lee Hatherly (Betty Hancock)……………………………….……………………. 25 Ian Mune (Mr Abercrombie)……………………………………………………….. 25 The Fimmaking Team: Director/Co-Writer-Robert Sarkies………………………………………………. 26 Co-Writer-Duncan Sarkies………………………………………………………… 26 Producer-Vicky Pope………………………………………………………………… 27 Producer-Tim
    [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]