Statement of Intent 2005-2006.Pdf PDF 996.5 KB
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Platform Contributions - Summary of Feedback and Draft Policy
Platform Contributions - Summary of feedback and Draft Policy March 2020 Purpose 1. The purpose of this paper is to summarise the public feedback NZ On Air received to the Platform Contributions review Discussion paper. In consideration of that feedback this paper then outlines a proposed approach that will form NZ On Air’s first official Platform Contributions policy, designed to clarify our expectations. Executive Summary 2. The shift to the NZ Media Fund (NZMF) has increased the diversity of platforms and audiences for which we fund content. Since the launch of the NZMF some issues have arisen in relation to platform contribution expectations. Specifically, there has been a degree of inequity and ambiguity in how we treat platforms and their financial commitment to projects, and we need to make this more consistent. 3. There was no clear consensus in the feedback we received on our discussion paper issued in November 2019. This paper is NZ On Air clarifying our expectations around platform contributions. 4. Key principles used to create this proposed Platform Contributions policy are: • Equity: a system that is fair for platforms, producers, and taxpayers • Proportionality: the bigger the funding request, the higher our expectation for co-investment • Simplicity: a simple, generally accepted approach that streamlines negotiation to assist both producers, platforms and NZ On Air staff • Incentivisation: a system that encourages both platforms and producers to support and create great, diverse content and secure co-investment where possible. Background 5. In November 2019 NZ On Air issued a Discussion paper to inform a review of Platform Contributions. Given the competing tensions described in the paper, the sharp increase in applications submitted and funded in the past two years, and the emergence of new digital platforms seeking to stream and produce local video content, NZ On Air needs to clarify guidelines and expectations of platform contributions. -
2018 RBA Annual Report
2 018 RADIO BROADCASTERS ASSOCIATION ANNUAL REPORT www.rba.co.nz THE YEAR BY NUMBERS NUMBER OF PEOPLE EMPLOYED BY RBA COMMERCIAL STATIONS – IN THE REGION OF 1,800 ANNUAL RADIO REVENUE $ 279.4 MILLION % OF ALL NZ ADVERTISING REVENUE 10.63% # OF COMMERCIAL RADIO FREQUENCIES– 103 AM & 678 FM 781 # OF LISTENERS AGED 10+ TO ALL RADIO AS AT S4 DECEMBER 2018 84% OF ALL NEW ZEALANDERS* 3.59 MILLION # OF LISTENERS AGED 10+ TO COMMERCIAL RADIO AS AT S4 DECEMBER 2018 78% OF ALL NEW ZEALANDERS* 3.32 MILLION # OF RADIO STUDENTS IN 2018 With almost 3.6 million people listening to radio each week and 3.3 million of those listening to commercial radio, we are one 173 of, if not the most used media channels every week in New Zealand. We need to shout this loudly and proudly. Jana Rangooni, RBA CEO www.rba.co.nz FROM THE RBA CHAIRMAN, FROM THE RBA CEO, NORM COLLISON JANA RANGOONI 2018 was a challenging As I write our support of a thriving mainstream year for all organisations in this report music industry in New Zealand. the media throughout New I, like so • We have revised the radio agency Zealand as we faced more many in the accreditation scheme and increased competition at a global level. industry, the number of agencies participating. It was pleasing therefore to are still see radio yet again hold its grieving • We have developed a new plan own in terms of audiences the loss with Civil Defence to engage with and advertising revenue. of our the 16 CDEM regions to ensure the Memorandum of Understanding with We ended the year with over 3.3 million New Zealanders colleague Darryl Paton who so many MCDEM is activated across New listening to commercial radio each week and $279.4 million in know from his years at The Edge and The Zealand. -
In New Zealand a Grounded Theory Analysis of Kiwi FM 2015
Powerful Music: Media, Culture and the ‘Third-way’ in New Zealand A Grounded Theory Analysis of Kiwi FM Matt Mollgaard School of Communication Studies Faculty of Design and Creative Technologies Auckland University of Technology A dissertation submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy 2015 2 Abstract The New Zealand radio market is one of the most deregulated in the world. There are no limits on ownership, very few constraints on content and no quotas for local content. New Zealand’s radio environment reflects the strong neo-liberal principles that underpin the open, market-driven New Zealand economy. Political promises and public discussions about the creation of a nationwide commercial-free public radio service for young people had faltered against these principles in the early to mid-2000s with strong opposition from incumbent commercial radio interests decrying government interference in their commercial rights. It was in to this environment in 2005 that one half of the foreign- owned radio broadcasting duopoly introduced a radio network into the three main cities that played only New Zealand music – Kiwi FM. Within a year the network had failed to attract sufficient listeners and advertisers to stay on-air and was nearing closure. At this point the Labour government of the day stepped in to save the struggling network by giving it access to temporary free frequencies and funding to make programmes featuring New Zealand music. This was an extraordinary situation in that commercial radio in New Zealand is notable for its focus on producing only programming that will create significant profits for shareholders, rather than public service-type programming benefiting national arts and culture. -
An Analysis of the People and Forces Shaping the Development of New
itl~i:t·~i~·. p~.rfu}~iHort·Jo r ;my:: ch'<!si ~ r ··,::1, t 1 t}:'ed •:" .·••~·:;;;/· Chef\ft.k ~ ~. hn~~E,\:S .,-} ~ :~~: Xa~: ~~;,;~,:~~ :~~........... .~. kolc10d. J6\Wct\0Nh'25' ............................. to be made aval lnble to reader:, in th,· Library under the coadfl:ions determined by the Librarian. I agree to my thesis, i ( a:::lz(,(\ for liy ,111\)t:her instHution, be':f.rig Sent away on temporary loan undl~r condition•; determined by the Lib.rarian. I also agree that my thesis may h~ copi~d for Library use. I do not wish my thesis, ent i tl,•d o • ♦ • ♦ ., • • • ~ " • ♦ ., • • '" e • ., • a· <t ., • • <I • " • " , • ~ • • ~ • .. ,. ~ "' " ,. ., " " i, • ., a 1' • • ♦ <\ • • ♦ • • _.,, "·•, • 4' • 1'+••4 .............. ,,. ......... ,. .............. ~~-~~•··•""""~··" .. "''*""""*"•·······"' • ') .. ♦ Ill ♦ II • ,. " • • • • ll • ., <t <0 • # ♦ ,._ 11 .. t • <> • ., " r t ~ • < • , ~ ~ "' -, ., * t, • • H ► II • • t, ,t 'II • • 4 .. ,. •• ''"* II ii' ,f ,;(' .,:•n1 to o~her ins ti tu:::i.ons 1 without my writtf•n Cl'llSCnt 1,1 i:i0 ,,: ,L, 11t·::t t1. r, yc,1rs. Sl 1;rn:\; ..~,,&~ ... ,........... iJ:1 tt· l o/. I.} 5$,$................... f~f Library l::f.assey University Fi1merston North, N.Z. copyright of this tb1;•sis bL•1c,ngs t,, 'ik 1'l1 '1,,r. l' ca(k rs n°us t :5 lgrt thl~ir name 1!.n ;cthe space below to show that they r.:,c..:,f,n i '.:c• , 11 i. : • TI1cy are asked to add their ;,Jbnanent address. Jlla:e .and Address j✓ ,, " ~ • • ,. • • • • "' • ,. '" • ~ ~ • • • lit • "' ♦ 11 " • • « ,. ., • • ~ • • ~ t " f- • '> " " • ~ ., .. " ,, ♦ "' • r " " I; • ii'- ti q • .. • It • I! "" ♦ • • ~ ft •--✓~ ,.C,, ',, \~,;~"_t:3•"•,*.•,:~',., .. , .. , ♦• ♦.-: *'i< 11.,dt 9,,~ ~ ♦"" f * ! ♦ .# ~. ♦ fy f-"'. 11"4 . -
Released Under the Official Information Act
31 October 2017 Hon Clare Curran Office of the Minister for Broadcasting, Communications and Digital Media Parliamentary Buildings Private Bag 18041 Wellington 6160 By Hand Dear Minister Broadcasting Standards Authority (BSA): Briefing for Incoming Minister The BSA Board, Chief Executive and staff send you our warm congratulations on your appointment to your portfolios and, specifically on your role as Minister responsible for the administration of the Broadcasting Act 1989 (the Act). We look forward to meeting and working with you. In the meantime may we give you an overview and identify some issues which we face. Overview The Broadcasting Standards Authority, was established in 1989 under the Broadcasting Act 1989. We are primarily a quasi-judicial tribunal that deals with complaints under broadcasting standards that relate to free-to-air and pay television, and radio. We also have the role of working with broadcasters to set the standards and oversee the standards regime. We do this by supporting broadcasters to meet their obligations and by educating the sector and the public about the important principles of freedom of expression, role of standards regulation in protecting against harm and how the standards and complaints system operates. We are a board of four members. We have responsibility for determining complaints, and for the governance of the Authority as a Crown Entity. We are supported by a small staff of six, led by our Chief Executive, Belinda Moffat. Governance Our small board has a quorum requirement of three. RELEASED UNDER THE [Withheld under s9(2)(g) of the Official Information Act] We OFFICIALhave had the happy situation ofINFORMATION always having worked well as a Board and always ACT having had very capable Chief Executives and staff. -
Jamming Imperialism: Ma¯Ori Radio and Postcolonial New Zealand
1 Peter Hoar Jamming Imperialism: Ma¯ori Radio and Postcolonial New Zealand Abstract New Zealand as a nation state was born imperial with the 1840 Treaty of Waitangi. The Treaty established a partnership between Māori, the indigenous people, and the British Crown. The Treaty underpins all aspects of modern New Zealand. New Zealand’s history has been one of colonisation with Māori being displaced, despoiled, and deprived of their land, language, and culture. In line with this history of imperial control, radio broadcasting in New Zealand devel- oped according to foreign models. A British-styled BBC model predominated until the 1980s when the wholesale adaptation of neoliberal ideologies saw New Zealand’s media restruc- tured along commercial lines. At the same time, there was a resurgence and revitalisation of Māori culture and influence in New Zealand based around the Treaty of Waitangi. This article outlines the roles of imperialism in the development of New Zealand radio before analysing the rise of Māori broadcasting as a counter-imperial response along with the increas- ing importance played the Māori language (Te Reo Māori) in New Zealand’s postcolonial media culture. KEYWORDS: Māori radio, Māori language, New Zealand, imperialism, media history, postcolonialism New Zealanders awoke on the 1st September 1914 to find their newspapers exulting in the capture of German Samoa. A New Zealand expeditionary force had seized the colony with no loss of life on 29 August.1 It was a source of great pride that New Zealand was the first dominion to offer help to Great Britain and then the first to occupy any German territory. -
BSA Annual Report 1992
BROADCASTING STANDARDS AUTHORITY TE MANA WHANONGA KAIPAHO ANNUAL REPORT FOR THE YEAR ENDED 30 JUNE 1992 MISSION STATEMENT To establish and maintain acceptable standards of broadcasting on all New Zealand radio and television, within the context of current social values, research and the principle of self-regulation, in a changing and deregulated industry Submitted to the Minister of Broadcasting for presentation to the House of Representatives pursuant to clause 14 of the First Schedule of the Broadcasting Act 1989- Iain Gallaway Chairperson The annual financial reports have been published separately and can be obtained, as can the other material mentioned in this document by writing to: or by visiting the: Broadcasting Standards Authority 2nd Floor PO Box 9213 NZ Lotteries Commission Building Wellington 54 - 56 Cambridge Tee New Zealand Wellington Phone: (04) 382 9508 Fax: (04) 382 9543 CONTENTS CHAIRPERSON'S FOREWORD 4 MEMBERS 5 A YEAR OF REVIEWS 6 COMPLAINTS 8 Overview Analysis of Decisions Procedures Parallel jurisdiction Privacy REVIEW OF THE CODES 12 Alcohol advertising Portrayal of violence on television Children's television programme standards Other codes RESEARCH PROGRAMME 17 Commissioned research In-house research Consultations PUBLICATIONS, EDUCATION AND PROMOTION 19 Complaints procedures General advertising and promotion Reference library Publications POLITICAL PARTY ADVERTISING 20 STAFF 21 STATEMENTS OF SERVICE PERFORMANCE 22 APPENDICES 27 Complaints determined by the Authority Advisory opinion on privacy List of Publications -
New Zealand Design Report 2018–2020
Version for Public Comment: Do not cite Independent Reporting Mechanism (IRM): New Zealand Design Report 2018–2020 Keitha Booth, Independent Researcher Table of Contents Executive Summary: New Zealand 2 I. Introduction 5 II. Open Government Context in New Zealand 6 III. Leadership and Multi-stakeholder Process 11 IV. Commitments 17 1. Engagement with Parliament 20 2. Youth Parliament 23 3. School Leavers’ Toolkit 26 4. Making New Zealand’s secondary legislation readily accessible 29 5. Public participation in policy development 32 6. Service design 35 7. Official Information 37 8. Review of government use of algorithms 40 9. Increase the visibility of government’s data stewardship practices 42 10. Monitoring the effectiveness of public body information management practices 44 11. Authoritative dataset of government organisations as open data for greater transparency 46 12. Open procurement 49 V. General Recommendations 52 VI. Methodology and Sources 57 Annex I. Overview of New Zealand’s performance throughout action plan development 59 This work is licenced under the Creative Commons Attribution 4.0 International Licence. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. 1 Version for Public Comment: Do not cite Executive Summary: New Zealand New Zealand’s third action plan reflects an effort to move beyond access to information commitments and includes other areas such as participation in democracy and public participation to develop policy and services. The co-creation process benefited from wider public engagement and is an improvement from previous years. -
Appraisal Report Functions, Activities and Records Evaluation Template
Appraisal Report Functions, Activities and Records Evaluation Template Appraisal Report Functions, activities and records evaluation for New Zealand On Air/ Irirangi Te Motu File/Document ID Broadcasting Commission (New Zealand On Air/ Irirangi Te Motu) Agency Clare Helm Contact Name and Head of Corporate Services Details New Zealand on Air [email protected] Date Contents Purpose 3 Scope 3 Agency and System Information 3 Functions of NZ On Air 3 Organisational Structure 4 Recordkeeping Environment 4 Electronic Records 4 Paper Records 4 Business Information Systems 5 Audio Visual Records 5 Methodology 6 Previous Appraisals/Relevant Precedent 6 Disposal Criteria 6 Schedule format 6 External Consultation 7 Description and Evaluation of Disposal Classes 8 Class 1: Governance and Accountability 8 Class 2: Funding 10 Class 3: Music Promotion 13 Class 4: Research 15 Class 5: Stakeholder and Industry Management 16 2 Purpose The purpose of this appraisal report and accompanying disposal schedule is to obtain authorisation from the Chief Archivist for records created and received by NZ On Air. The report will: • Support effective and efficient records management • Reflect any changes in records management or information management systems, functions or activities undertaken by NZ On Air • Obtain legal authority to dispose of records not covered by the General Disposal Authorities • Replace expired authority DA429 Scope This appraisal report and the accompanying disposal schedule applies to current, non-current and yet to be created records in all formats, including audio visual records that are created and received by NZ On Air. The schedule excludes classes of records covered by the General Disposal Authorities (GDA6 and GDA7). -
Reaching the Community Through Community Radio
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UC Research Repository REACHING THE COMMUNITY THROUGH COMMUNITY RADIO Readjusting to the New Realities A Case Study Investigating the Changing Nature of Community Access and Participation in Three Community Radio Stations in Three Countries New Zealand, Nepal and Sri Lanka __________________________________________________________________________ A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy By Ahmed Zaki Nafiz University of Canterbury 2012 _____________________________________________________________________________ Dedicated to my beloved parents: Abdulla Nafiz and Rasheeda Mohammed Didi i ABSTRACT Community radio is often described as a medium that celebrates the small community life and where local community members plan, produce and present their own programmes. However, many believe that the radio management policies are now increasingly sidelining this aspect of the radio. This is ironic given the fact that the radio stations are supposed to be community platforms where members converge to celebrate their community life and discuss issues of mutual interest. In this case study, I have studied three community radio stations- RS in Nepal, KCR in Sri Lanka and SCR in New Zealand- investigating how the radio management policies are positively or negatively, affecting community access and participation. The study shows that in their effort to stay economically sustainable, the three stations are gradually evolving as a ‘hybrid’; something that sits in-between community and commercial radio. Consequently, programmes that are produced by the local community are often replaced by programmes that are produced by full-time paid staff; and they are more entertaining in nature and accommodate more advertisements. -
Youth and Sports News Reinforcing National Identity Brendan Reilly
Rugby Nation: Youth and Sports News Reinforcing National Identity Brendan Reilly, Ara Institute of Canterbury, New Zealand Karen Neill, Ara Institute of Canterbury, New Zealand The Asian Conference on Media, Communication & Film 2017 Official Conference Proceedings Abstract News is an important area where the nation turns to, looking for an understanding of national and world events and to place it in a historical context. Arguably, the quality of this information can only be obtained when there is a diversity and plurality in media offerings. Modern commercial music radio is now in a state of disruption with increased competition from digital arenas, pressure to maintain financial performance and audience ratings. One method to keep audiences listening has been the service of providing sports news. With sports being a large part of the national psyche, and intimately tied into the historical identity of being a sports mad nation, what coverage are they presenting and what are the ramifications of this coverage in reinforcing a mythical national identity? An investigation into the diversity of sports news will be one avenue in which to examine whether news organisations are delivering a range of content that mirrors the range of sports being participated and excelled at locally and internationally. Looking at two youth radio stations over a similar month in 2013 and 2016, does their sports news coverage provide justification of assertions that they are providing a service for the public good? Cross media comparisons demonstrated the continuing history of marginalization of women’s sports and focus on just a few major sporting codes. Utilising agenda setting theory and content analysis, there may be unintended consequences of a limited service that reinforces the way the country sees itself.