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In Liquidation)
Liquidators’ First Report on the State of Affairs of Taratahi Agricultural Training Centre (Wairarapa) Trust Board (in Liquidation) 8 March 2019 Contents Introduction 2 Statement of Affairs 4 Creditors 5 Proposals for Conducting the Liquidation 6 Creditors' Meeting 7 Estimated Date of Completion of Liquidation 8 Appendix A – Statement of Affairs 9 Appendix B – Schedule of known creditors 10 Appendix C – Creditor Claim Form 38 Appendix D - DIRRI 40 Liquidators First Report Taratahi Agricultural Training Centre (Wairarapa) Trust Board (in Liquidation) 1 Introduction David Ian Ruscoe and Malcolm Russell Moore, of Grant Thornton New Zealand Limited (Grant Thornton), were appointed joint and several Interim Liquidators of the Taratahi Agricultural Training Centre (Wairarapa) Trust Board (in Liquidation) (the “Trust” or “Taratahi”) by the High Count in Wellington on 19 December 2018. Mr Ruscoe and Mr Moore were then appointed Liquidators of the Trust on 5th February 2019 at 10.50am by Order of the High Court. The Liquidators and Grant Thornton are independent of the Trust. The Liquidators’ Declaration of Independence, Relevant Relationships and Indemnities (“DIRRI”) is attached to this report as Appendix D. The Liquidators set out below our first report on the state of the affairs of the Companies as required by section 255(2)(c)(ii)(A) of the Companies Act 1993 (the “Act”). Restrictions This report has been prepared by us in accordance with and for the purpose of section 255 of the Act. It is prepared for the sole purpose of reporting on the state of affairs with respect to the Trust in liquidation and the conduct of the liquidation. -
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. -
Mainfreight Annual Report 2015
WE DELIVER ANNUAL REPORT 2015 WE DELIVER: LIFE’S ESSENTIALS TO A GLOBAL MARKETPLACE. OUR BUSINESS SPECIALISES IN GLOBAL SUPPLY CHAIN LOGISTICS, HELPING OUR CUSTOMERS SATISFY THE WORLD’S EVER-INCREASING DEMAND FOR ESSENTIAL COMMODITIES – FOR EXAMPLE FOOD, BEVERAGES AND SHELTER. 3 GLOBAL SUPPLY CHAIN LOGISTICS IS ONE OF THE WORLD’S FASTEST-GROWING INDUSTRIES. WHY? AS THE WORLD’S POPULATION DEMANDS READY ACCESS TO COMMODITIES FROM AROUND THE PLANET, A BORDERLESS GLOBAL MARKETPLACE IS A REALITY. Manufacturers who trade in this marketplace are seeking out robust, proven supply chain partners with a global network. Mainfreight has become a serious contender in this space. With real global capability, an ever-intensifying network and aggressive growth targets, we are well-positioned to help our customers get ever-increasing volumes of their products into the hands of their customers. Whether it’s down the road or across the globe. NOTICE OF MEETING Notice is given that the Annual Meeting of Shareholders of Mainfreight Limited will be held at 4.00pm on Wednesday 29 July 2015 at the Barrel Hall, Villa Maria Estate, 118 Montgomerie Road, Mangere, Auckland. Full details, including the Meeting Agenda, are contained in the separate Notice of Meeting and Explanatory Notes accompanying this report, and are also available on the Company’s website, www.mainfreight.com or by scanning the QR above. CONTENTS: 06 07 08 10 12 Our Place in Facts and Chairman’s Group Managing Network Growth the World Figures Report Director’s Report Strategy 14 16 20 24 28 Mainfreight -
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. -
ASIC Unclaimed Money Gazette
Commonwealth of Australia Gazette No. UM1/16, Monday 29 February 2016 Published by ASIC ASIC Gazette Contents Unclaimed consideration for compulsory acquisition - S668A Corporations Act RIGHTS OF REVIEW Persons affected by certain decisions made by ASIC under the Corporations Act 2001 and the other legislation administered by ASIC may have rights of review. ASIC has published Regulatory Guide 57 Notification of rights of review (RG57) and Information Sheet ASIC decisions – your rights (INFO 9) to assist you to determine whether you have a right of review. You can obtain a copy of these documents from the ASIC Digest, the ASIC website at www.asic.gov.au or from the Administrative Law Co-ordinator in the ASIC office with which you have been dealing. ISSN 1445-6060 (Online version) Available from www.asic.gov.au ISSN 1445-6079 (CD-ROM version) Email [email protected] © Commonwealth of Australia, 2016 This work is copyright. Apart from any use permitted under the Copyright Act 1968, all rights are reserved. Requests for authorisation to reproduce, publish or communicate this work should be made to: Gazette Publisher, Australian Securities and Investment Commission, GPO Box 9827, Melbourne Vic 3001 ASIC GAZETTE Commonwealth of Australia Gazette UM1/16, Monday 29 February 2016 Unclaimed consideration for compulsory acquisition Page 1 of 270 Unclaimed Consideration for Compulsory Acquisition - S668A Corporations Act Copies of records of unclaimed consideration in respect of securities, of the following companies, that have been compulsorily -
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. -
Convenient Fictions
CONVENIENT FICTIONS: THE SCRIPT OF LESBIAN DESIRE IN THE POST-ELLEN ERA. A NEW ZEALAND PERSPECTIVE By Alison Julie Hopkins A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2009 Acknowledgements I would like to acknowledge those people who have supported me in my endeavour to complete this thesis. In particular, I would like to thank Dr Alison Laurie and Dr Lesley Hall, for their guidance and expertise, and Dr Tony Schirato for his insights, all of which were instrumental in the completion of my study. I would also like to express my gratitude to all of those people who participated in the research, in particular Mark Pope, facilitator of the ‘School’s Out’ programme, the staff at LAGANZ, and the staff at the photographic archive of The Alexander Turnbull Library. I would also like to acknowledge the support of The Chief Censor, Bill Hastings, and The Office of Film and Literature Classification, throughout this study. Finally, I would like to thank my most ardent supporters, Virginia, Darcy, and Mo. ii Abstract Little has been published about the ascending trajectory of lesbian characters in prime-time television texts. Rarer still are analyses of lesbian fictions on New Zealand television. This study offers a robust and critical interrogation of Sapphic expression found in the New Zealand television landscape. More specifically, this thesis analyses fictional lesbian representation found in New Zealand’s prime-time, free-to-air television environment. It argues that television’s script of lesbian desire is more about illusion than inclusion, and that lesbian representation is a misnomer, both qualitatively and quantitively. -
Temuera Morrison MNZM
Profile Temuera Morrison MNZM Vitals Gender Male Age Range 45 - 59 Height 173cm Base Location Auckland Available In Auckland, Christchurch, International, Queenstown, Wellington Skills Actor, Corporate, Presenter, Voice Artist Eye Dark Brown Memberships SAG/AFTRA Agent New Zealand The Robert Bruce Agency Agent Phone +64 (0)9 360 3440 Email [email protected] Agent Web robertbruceagency.com Australian The Robert Bruce Agency (Aus) Agent Phone +61 (0)406 009 477 Email [email protected] Agent Web robertbruceagency.com Credits Type Role Production Company Director 2020 Television Boba Fett The Mandalorian S2 (Post- Fairview Entertainment (US) for Various production) Disney+ Feature Peter Bartlett Occupation Rainfall (Post- Occupation Two Productions Luke Sparke Film production) (AU) 2019 Feature Eddie Jones The Brighton Miracle Eastpool Films (AUS) Max Mannix Film Feature Powell Dora and the Lost City of Gold Paramount Players (US) James Bobin Film Feature Warfield (Voice) Mosley (Animation) Huhu Studios (NZ)/China Film Kirby Atkins Film Animation 2018 Television Te Rangi (4 x eps) Frontier (2016 - ) S3 Take the Shot Productions (CA) Various Feature Peter Bartlett Occupation Sparke Films Luke Sparke Film Copyright © 2020 Showcast. All rights reserved. Page 1 of 7 Feature Tom Curry Aquaman DC Comics James Wan Film 2017 Feature Chief Toi (Voice) Moana (Te Reo Maori) Matewa Media Trust/Walt Ron Clements/John Film Disney Animation Musker Television Jack Te Pania (Voice) Barefoot Bandits - Series 2 Mukpuddy Animation Ryan Cooper, -
Blair Strang. Height 175 Cm
Presenter Biography Blair Strang. Height 175 cm Awards. 2020 Morning Star 2000 TV Guide New Zealand Television Awards-Nomination-Best Supporting Actor in a Television Series-Shortland Street Short Film. 2003 Wrestless Insanity Dir. Rob McLauchlan 2001 Death of Theatre Manager Mathew Star X - Cat Productions 1988 Thunderbox Peter Independant Production Dir. Lee Tamahori Television. 2020 Power Rangers Dino Fury Warden Garcia Power Rangers Productions (Series Regular) Dir. Various Prd. Becca Barnes&Alwyn Dale 2019 Jonah Merv Quirk Great Southern Film and Television Dir. Danny Mulheron Prd. Carmen Leonard, Philip Smith 2019 Brokenwood Mysteries Ep 2 Hamish Drake Dir. Various Prd. South Pacific Pictures 2016 Funny Girls Mediaworks 2014 Nothing Trivial Movie Brian Telefeature - South Pacific Pictures (Lead) Dir. Mark Beesley Prd. South Pacific Pictures 2013 Jono & Ben at Ten Blair Strang Mediaworks (Guest Comedy Skit) Dir. Various 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 Blair Strang. Page 2 Television continued... 2011 Nothing Trivial Series 1, 2 & 3 Brian South Pacific Pictures (Lead) 2009 Kaitangata Twitch Sebastian Carswell Kaitangata Twitch Productions Ltd (Recurring guest) Dir. Yvonne McKay Prd. Chris Hampson 2009 Go Girls Joseph Series 2 (Guest) Prd. South Pacifc Pictures 2008 Go Girls Series 1 Joseph South Pacific Pictures 2005 Orange Roughies DSS Sean Parkes Screen Works/TV1 (Regular Recurring) Dir. Chris Bailey 2005 Interrogation Laurence Sutherland South Pacific Pictures (Guest) 2005 So You Wannabe A Popstar Blair Strang Touchdown Television &Christmas Celebration 2005 Doves of War - Mini Series Joe Matich ScreenWorks (Regular Recurring) Dir. -
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. -
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. -
Maori Miners
MAORI AND MINING IN NEW ZEALAND AND BEYOND Philip Hart Te Aroha Mining District Working Papers No. 17 2016 Historical Research Unit Faculty of Arts & Social Sciences The University of Waikato Private Bag 3105 Hamilton, New Zealand ISSN: 2463-6266 © 2016 Philip Hart Contact: [email protected] 1 MAORI AND MINING IN NEW ZEALAND AND BEYOND Abstract: Before the arrival of Europeans, Maori had known of the existence of gold but did not mine it and had no understanding of its value. Once mining commenced in California in 1849 and Australia in the early 1850s, many Maori participated on several fields, especially in Victoria. When gold was first discovered in New Zealand, at Coromandel in 1852, Maori were keen to learn prospecting skills, and soon found gold in several parts of both the North and South Islands. Some alluvial claims were worked communally, even some women participating. From the start, Maori were determined to protect their rights against Pakeha when they were rivals for the same ground. On the Hauraki Peninsula, which had no alluvial gold, Maori were prospectors rather than miners. Some were successful, often going against the wishes of rangatira who, fearing that opening goldfields would result in their losing their land, refused access to prospectors, particularly in Ohinemuri. At Thames, Maori prospectors succeeded where Pakeha ones had failed, finding the gold that led to the 1867 rush; a rush encouraged by one rangatira in particular, Wirope Hoterene Taipari, who understood how a successful field would benefit him financially (including obtaining a reward for discovering a payable goldfield).