Annual Report 2019/20

Total Page:16

File Type:pdf, Size:1020Kb

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. Social distancing requirements limited cinema audience numbers for those Sustain and strengthen economic outcomes for our thriving screen industry •••••••••• 19 films released in the early part of 2020 while NZFC funded films scheduled to release between Facilitate dynamic pathways for outstanding people, projects and businesses ••••••••• 27 mid-March and June 30, 2020 were forced to move their release dates to later in the year. Maximise interest and audiences for New Zealand screen stories here and overseas ••••• 33 Build and maintain stakeholder relationships to generate excellence in partnerships ••••• 41 During the lockdown, NZFC staff worked from home and continued to provide a full range of programmes and services. The only exception was funding for travel to overseas festivals and NZFC Governance ••••••••••••••••••••••••••••••••••••••••••••••••••••• 45 markets. With overseas travel no longer a possibility, funding for this area was re-allocated to other programmes to support filmmakers and screen businesses while production was Independent Auditor's Report •••••••••••••••••••••••••••••••••••••••••••• 46 shut down. This re-direction of funds impacted many areas of business including the Talent Development team’s professional development programmes. NZFC Operations ••••••••••••••••••••••••••••••••••••••••••••••••••••• 50 The Screen Sector Recovery Package announced by Government at the start of July was Organisational Health & Capability ••••••••••••••••••••••••••••••••••••••••• 51 welcomed by the sector. The NZFC has been allocated $13.4M for domestic screen productions impacted financially by COVID-19, $2M for cultural capacity funding, spread over the 2020/21 Statement of Responsibility •••••••••••••••••••••••••••••••••••••••••••••• 53 and 2021/22 financial years and $50 million jointly with with NZ on Air and Te Māngai Pāho to operate a premium fund for high-quality productions that tell New Zealand stories for Financials •••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 54 global audiences. Statement of Service Performance ••••••••••••••••••••••••••••••••••••••••• 81 for global audiences.The disruption caused by COVID-19 means the organisation has met or exceeded only 65% of its performance measures in the period. We anticipate that the effects of Appendix •••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 89 COVID-19 will continue to impact both core business and bespoke programmes and have taken this into account when setting performance targets for the 2020/21 financial year. NZFC Operational Units/Staff ••••••••••••••••••••••••••••••••••••••••••••• 99 Glossary •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••100 2 TE TUMU WHAKAATA TAONGA | NEW ZEALAND FILM COMMISSION Annual Report – 2019/20 TE TUMU WHAKAATA TAONGA | NEW ZEALAND FILM COMMISSION AnnualAnnual Report – 2019/20 3 OUR YEAR IN REVIEW 2019-2020 RAUTAKI MĀORI NZ FILM ON DEMAND 1 NZ feature film project in Subscribers 47% increase PRODUCTIONS Te Reo 16,697 PRODUCTION FINANCING projects with NZFC/NZSPG support that 5K of which were new commenced production in 2019/20 $175K Māori joiners in the 19/20 period NZ feature film projects granted by Rautaki Māori was committed received production towards projects financing offers $2.4M in 10 in development production 10K+ financing sales and rentals 11 13 across the 166 titles NZFC committed NZ Feature Films PDV Projects* $14.1M 900+ jobs for *Post, Digital & on offer in equity production NZ cast & crew Visual Effects investment funding (new productions) 15% of International4 Projects total budgets 2,000+ jobs for films with NZFC $90M NZ cast & crew FESTIVALS total budget of support were NZ films with selected to screen at GENDER & DIVERSITY IN FILM (shorts & features) NZFC funding NZ SCREEN PRODUCTION GRANT 20 films A-List Festivals 47% 48% 46 Other FEMALE MALE $630M 28 films International spent on productions in NZ Festivals & Events Gender Identity of Key Creatives* across 27 productions triggered by the NZSPG 1% Female Directors Asian Filmmakers Gender Diverse SCRIPT DEVELOPMENT FUNDING 17 final NZSPG International certificates were approved A record 50% 50% 10 final NZSPG NZ of new feature films of short films funded VIRTUAL CANNES certificates were approved financed through through Fresh Shorts M 49% production had female were written & directed $3.1 842 increase between NZ directors by Asian filmmakers committed in script APPLICATIONS producers & international sales development funding for script development *Projects offered development or production funding (long form projects) agents were held Key creative roles = Director / Producer / Writer funding were received 122 through a Virtual 4% of creatives chose not to disclose their gender meetings Cannes Market including Application Volumes TALENT DEVELOPMENT 842 NZFC pavillion Women Working $1.5M 564 at the Marche du committed across in Comedy Film Online was 291 Coup de awarded the 6 new or expanded The NZFC 2020 CO-PRODUCTION MARKETS Coeur 'Coup de Coeur' development funds Gender Scholarship 2017-18 2018-19 2019-20 in the Pavillion Māori Pacific attracted the Design Awards Directors Writers highest number of NZ producers took part in 11 12 123 Applications applications the Berlinale Co-production Berlin Market Visitor's Programme 2017-18 2018-19 2019-20 since its inception 5 CO-PRODUCTIONS Singapore Over 100 introductory of projects funded had a 36% Māori creative in 2 out of 3 meetings were held key creative roles* official co-productions between NZ producers 35 received provisional & Singaporean 13 or final approval 100 producers/industry filmmakers were offered 2/3 Online Mentorship or On the Job AUSTRALIA Development opportunities FRANCE *Projects funded through development UK or production. Key creative roles = CANADA Director / Producer / Writer CHINA GERMANY 4 5 CHAIR’S INTRODUCTION FROM THE CHIEF EXECUTIVE Kerry Prendergast Annabelle Sheehan It is my pleasure to introduce the New Zealand Film Commission’s annual report for the 2019/20 financial year. The past year has presented many changes and challenges for those in the screen sector. The COVID-19 pandemic required the Government to move the country to Alert Level 4 in March, resulting in a national This has been a challenging year for everyone, including those in the screen sector. COVID-19 impacted 47 New shutdown of non-essential activity. Screen production was inevitably disrupted and disabled, impacting the Zealand productions when the global pandemic required the Government to move New Zealand into Alert Level livelihood of our producers, production companies, cast, crew and key creatives. The New Zealand screen 4. These projects were all in various stages of completion: productions scheduled for theatrical release, those in sector has discovered new ways of working and collaborating to ensure our industry continues to flourish. While post-production, and many in production as well as those with offers of finance. mindful of the significant hardships the industry has faced, it is also important to acknowledge the achievements of the New Zealand screen sector over the past year. Since the New Zealand government lifted Alert Levels, allowing production to re-start, the industry has proved its resilience. Both local and international productions have re-started, providing numerous jobs for New International and New Zealand productions were on track to reach record levels in the 2019/20 year, however, Zealand’s skilled cast, crews and those that support them. As I sit to write
Recommended publications
  • Report for a Historic Place Hurston, WELLINGTON (List No
    New Zealand Heritage List/Rārangi Kōrero – Report for a Historic Place Hurston, WELLINGTON (List No. 9954, Category 2) Hurston, Island Bay, Wellington (Miranda Williamson, Heritage New Zealand, 10 January 2021) Miranda Williamson Last amended 15 February 2021 Heritage New Zealand Pouhere Taonga TABLE OF CONTENTS EXECUTIVE SUMMARY 3 1. IDENTIFICATION 4 1.1. Name of Place 4 1.2. Location Information 4 1.3. Legal Description 4 1.4. Extent of List Entry 4 1.5. Eligibility 5 1.6. Existing Heritage Recognition 5 2. SUPPORTING INFORMATION 5 2.1. Historical Information 5 2.2. Physical Information 10 2.3. Chattels 13 2.4. Sources 13 3. SIGNIFICANCE ASSESSMENT 14 3.1. Section 66 (1) Assessment 14 3.2. Section 66 (3) Assessment 15 4. APPENDICES 17 4.1. Appendix 1: Visual Identification Aids 17 4.2. Appendix 2: Visual Aids to Historical Information 21 4.3. Appendix 3: Visual Aids to Physical Information 25 4.4. Appendix 4: Significance Assessment Information 27 Disclaimer Please note that entry on the New Zealand Heritage List/Rārangi Kōrero identifies only the heritage values of the property concerned, and should not be construed as advice on the state of the property, or as a comment of its soundness or safety, including in regard to earthquake risk, safety in the event of fire, or insanitary conditions. Archaeological sites are protected by the Heritage New Zealand Pouhere Taonga Act 2014, regardless of whether they are entered on the New Zealand Heritage List/Rārangi Kōrero or not. Archaeological sites include ‘places associated with pre-1900 human activity, where there may be evidence relating to the history of New Zealand’.
    [Show full text]
  • Back Listeners: Locating Nostalgia, Domesticity and Shared Listening Practices in Contemporary Horror Podcasting
    Welcome back listeners: locating nostalgia, domesticity and shared listening practices in Contemporary horror podcasting. Danielle Hancock (BA, MA) The University of East Anglia School of American Media and Arts A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy January 2018 Contents Acknowledgements Page 2 Introduction: Why Podcasts, Why Horror, and Why Now? Pages 3-29 Section One: Remediating the Horror Podcast Pages 49-88 Case Study Part One Pages 89 -99 Section Two: The Evolution and Revival of the Audio-Horror Host. Pages 100-138 Case Study Part Two Pages 139-148 Section Three: From Imagination to Enactment: Digital Community and Collaboration in Horror Podcast Audience Cultures Pages 149-167 Case Study Part Three Pages 168-183 Section Four: Audience Presence, Collaboration and Community in Horror Podcast Theatre. Pages 184-201 Case Study Part Four Pages 202-217 Conclusion: Considering the Past and Future of Horror Podcasting Pages 218-225 Works Cited Pages 226-236 1 Acknowledgements With many thanks to Professors Richard Hand and Mark Jancovich, for their wisdom, patience and kindness in supervising this project, and to the University of East Anglia for their generous funding of this project. 2 Introduction: Why Podcasts, Why Horror, and Why Now? The origin of this thesis is, like many others before it, born from a sense of disjuncture between what I heard about something, and what I experienced of it. The ‘something’ in question is what is increasingly, and I believe somewhat erroneously, termed as ‘new audio culture’. By this I refer to all scholarly and popular talk and activity concerning iPods, MP3s, headphones, and podcasts: everything which we may understand as being tethered to an older history of audio-media, yet which is more often defined almost exclusively by its digital parameters.
    [Show full text]
  • New China's Forgotten Cinema, 1949–1966
    NEW CHINA’S FORGOTTEN CINEMA, 1949–1966 More Than Just Politics by Greg Lewis Several years ago when planning a course on modern Chinese history as seen through its cinema, I realized or saw a significant void. I hoped to represent each era of Chinese cinema from the Leftist movement of the 1930s to the present “Sixth Generation,” but found most available subtitled films are from the post-1978 reform period. Films from the Mao Zedong period (1949–76) are particularly scarce in the West due to Cold War politics, including a trade embargo and economic blockade lasting more than two decades, and within the arts, a resistance in the West to Soviet- influenced Socialist Realism. wo years ago I began a project, Translating New China’s Cine- Phase One. Economic Recovery, ma for English-Speaking Audiences, to bring Maoist Heroic Revolutionaries, and Workers, T cinema to students and educators in the US. Several genres Peasants, and Soldiers (1949–52) from this era’s cinema are represented in the fifteen films we have Despite differences in perspective on Maoist cinema, general agree- subtitled to date, including those of heroic revolutionaries (geming ment exists as to the demarcation of its five distinctive phases (four yingxiong), workers-peasants-soldiers (gongnongbing), minority of which are represented in our program). The initial phase of eco- peoples (shaoshu minzu), thrillers (jingxian), a children’s film, and nomic recovery (1949–52) began with the emergence of the Dong- several love stories. Collectively, these films may surprise teachers bei (later Changchun) Film Studio as China’s new film capital.
    [Show full text]
  • Perkins, Anthony (1932-1992) by Tina Gianoulis
    Perkins, Anthony (1932-1992) by Tina Gianoulis Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2007 glbtq, Inc. Reprinted from http://www.glbtq.com The life and career of actor Anthony Perkins seems almost like a movie script from the times in which he lived. One of the dark, vulnerable anti-heroes who gained popularity during Hollywood's "post-golden" era, Perkins began his career as a teen heartthrob and ended it unable to escape the role of villain. In his personal life, he often seemed as tortured as the troubled characters he played on film, hiding--and perhaps despising--his true nature while desperately seeking happiness and "normality." Perkins was born on April 4, 1932 in New York City, the only child of actor Osgood Perkins and Janet Esseltyn Rane. His father died when he was only five, and Perkins was reared by his strong-willed and possibly abusive mother. He followed his father into the theater, joining Actors Equity at the age of fifteen and working backstage until he got his first acting roles in summer stock productions of popular plays like Junior Miss and My Sister Eileen. He continued to hone his acting skills while attending Rollins College in Florida, performing in such classics as Harvey and The Importance of Being Earnest. Perkins was an unhappy young man, and the theater provided escape from his loneliness and depression. "There was nothing about me I wanted to be," he told Mark Goodman in a People Weekly interview. "But I felt happy being somebody else." During his late teens, Perkins went to Hollywood and landed his first film role in the 1953 George Cukor production, The Actress, in which he appeared with Spencer Tracy.
    [Show full text]
  • To Your Free Time
    THE NEXT FREE DURBAN YOUR4 FREE8 GUIDE TOh YOUR FREEO TIME U R JulyS 2016 ÷ Issue 08 Your free guide to your free time Chris Brown is here for Mother Of All Parties – page 5 Get dirty at the Jeep Warrior Series – page 7 - Page 3 Glitz, glam and horse racing at the Durban July Celebrate the shisa nyama Online: @48hoursindurban www.facebook.com/48hoursindurban lifestyle – page 10 GOOD FOOD TO YOUR HOOD National Call Centre: 0861 85 85 85 or order online at www.mrd.com The Next 48hOURS • Socials Seen at Sun Coast casino enjoying the Bok Town gees Marlini Moodley & Enrico Chand- Monique Nolte, Natisha Jansen Van Rens- Wanda Lamprecht, Wayne Nolte & Nic Yvonne Borrill & Harlie Kotze erdutt burg & Wanda Lamprecht Armitage-Graves All smiles after a night of salsa at the open-air salsa sessions Leavil Jacks and Pat Baloyi Mayra Fritsney and Kuveer Maharaj Stefany & Frida Fritsney with Emmanuel Sithole Reyhana Jacobs and Rishal Ramparsad Saskia De Wet and Amy Kaylee Testing endurance and spirit is what the Ironman race is all about - seen below are the winners and fellow entrants EDITORIAL STAFF Editorial Contributors Editorial addrEss The Next 48hOURS is published by Managing Editor: Naushad Khan Jenny Morris Postal: P.O. Box 830, Rani Communications. Every effort has Publisher/Editor: Imran Khan Peter Feldman Maitland, 7404 been made to ensure the accuracy of Production Editor: Peter Tromp RoxyK the information provided. Editorial Assistant: Aisha Sieed Imran Khan Actual: 12 Main Rd. The Next 48hOURS will not be held Three Anchor Bay responsible for the views and opinions Senior Designer: Dane Torode Tel: 021 8024848 National Sales: Godfrey Lancellas expressed by writers and contributors.
    [Show full text]
  • Anthology Drama: the Case of CBS Les Séries Anthologiques Durant L’Âge D’Or De La Télévision Américaine : Le Style Visuel De La CBS Jonah Horwitz
    Document generated on 09/26/2021 8:52 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Visual Style in the “Golden Age” Anthology Drama: The Case of CBS Les séries anthologiques durant l’âge d’or de la télévision américaine : le style visuel de la CBS Jonah Horwitz Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 Despite the centrality of a “Golden Age” of live anthology drama to most histories of American television, the aesthetics of this format are widely URI: https://id.erudit.org/iderudit/1015184ar misunderstood. The anthology drama has been assumed by scholars to be DOI: https://doi.org/10.7202/1015184ar consonant with a critical discourse that valued realism, intimacy and an unremarkable, self-effacing, functional style—or perhaps even an “anti-style.” See table of contents A close analysis of non-canonical episodes of anthology drama, however, reveals a distinctive style based on long takes, mobile framing and staging in depth. One variation of this style, associated with the CBS network, flaunted a virtuosic use of ensemble staging, moving camera and attention-grabbing Publisher(s) pictorial effects. The author examines several episodes in detail, demonstrating Cinémas how the techniques associated with the CBS style can serve expressive and decorative functions. The sources of this style include the technological limitations of live-television production, networks’ broader aesthetic goals, the ISSN seminal producer Worthington Miner and contemporaneous American 1181-6945 (print) cinematic styles. 1705-6500 (digital) Explore this journal Cite this article Horwitz, J. (2013). Visual Style in the “Golden Age” Anthology Drama: The Case of CBS.
    [Show full text]
  • 19.05.21 Notable Industry Recognition Awards List • ADC Advertising
    19.05.21 Notable Industry Recognition Awards List • ADC Advertising Awards • AFI Awards • AICE & AICP (US) • Akil Koci Prize • American Academy of Arts and Letters Gold Medal in Music • American Cinema Editors • Angers Premier Plans • Annie Awards • APAs Awards • Argentine Academy of Cinematography Arts and Sciences Awards • ARIA Music Awards (Australian Recording Industry Association) Ariel • Art Directors Guild Awards • Arthur C. Clarke Award • Artios Awards • ASCAP awards (American Society of Composers, Authors and Publishers) • Asia Pacific Screen Awards • ASTRA Awards • Australian Academy of Cinema and Television Arts (AACTS) • Australian Production Design Guild • Awit Awards (Philippine Association of the Record Industry) • BAA British Arrow Awards (British Advertising Awards) • Berlin International Film Festival • BET Awards (Black Entertainment Television, United States) • BFI London Film Festival • Bodil Awards • Brit Awards • British Composer Awards – For excellence in classical and jazz music • Brooklyn International Film Festival • Busan International Film Festival • Cairo International Film Festival • Canadian Screen Awards • Cannes International Film Festival / Festival de Cannes • Cannes Lions Awards • Chicago International Film Festival • Ciclope Awards • Cinedays – Skopje International Film Festival (European First and Second Films) • Cinema Audio Society Awards Cinema Jove International Film Festival • CinemaCon’s International • Classic Rock Roll of Honour Awards – An annual awards program bestowed by Classic Rock Clio
    [Show full text]
  • Artlinks Topic Conversations
    Like a Picture, Marc Laureano (English, Northcote College) will facilitate discussions Poetry : integrating centred around teaching ideas and tasks which integrate Visual Arts in visual arts into the the process of teaching certain English standards (including the Writing English classroom portfolio and Create a visual/verbal text) for NCEA Level 2 and 3. The discussions are set up to provide a platform to exchange ideas and experiences while investigating answers to the following questions: • How can we use visual arts to prompt and inspire work in different English strands? • How can the relationship between images and texts enable the exploration of meaning? Using Drama to Kineret Yardena (English/Drama, St Cuthbert’s College) will Explore ‘Identity’ facilitate a practical workshop using drama-based conventions to & ‘Belonging’ in explore questions of ‘negotiating belonging’ and ‘negotiating identity’ Poetry in two poems: Glenn Colquhoun’s “Race Relations” and David Wagoner’s “Lost”. We will also look at how the Maori mythos of Workshop based - Tāwhirim ātea can illuminate deeper themes of these works. 16 max The workshop will include strategies for using drama as a way into poetry deconstruction, creative writing, inter-cultural explorations, and art making: Exploration will be around: - Demystifying drama for the non-drama teacher, to support students’ meaning-making processes - Making texts and social issues ‘come alive’ through drama - Using ‘role’ as a catalyst for creative writing - Using Maori mythos to explore and illuminate poetic themes Cross curricular Sam Cunnane (Visual Arts, Fraser High School) will lead a programming - discussion based on the cross-curricular project that produces making it happen Passionfruit Magazine at Fraser High School in Hamilton, and the development of a similar project for students who are talented musicians.
    [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]
  • 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.
    [Show full text]
  • Avatar, Hillary: the Movie, Citizens United, and How Birds of the Same Feather Flock Together
    Mississippi College School of Law MC Law Digital Commons Journal Articles Faculty Publications 2013 Using Feathery Birds to Disguise Hateful Speech: Avatar, Hillary: The oM vie, Citizens United, and How Birds of the Same Feather Flock Together Angela Mae Kupenda Mississippi College School of Law, [email protected] Follow this and additional works at: http://dc.law.mc.edu/faculty-journals Part of the Constitutional Law Commons, and the First Amendment Commons Recommended Citation 49 Gonz. L. Rev. 1 (2013-14). This Article is brought to you for free and open access by the Faculty Publications at MC Law Digital Commons. It has been accepted for inclusion in Journal Articles by an authorized administrator of MC Law Digital Commons. For more information, please contact [email protected]. Using Feathery Birds to Disguise Hateful Speech: Avatar, Hillary: The Movie, Citizens United, and How Birds of the Same Feather Flock Together By Angela Mae Kupenda* TABLE OF CONTENTS I. INTRODUCTION .............................................. 2 II. HATEFUL INFLUENCES FROM COMMERCIAL AND ENTERTAINMENT MEDIA, DERAILING THE TRUTH IN THE MARKETPLACE OF IDEAS...........7 A. Exploring the Marketplace Through Class Exercises.................. 8 B. Exploring the Marketplace Through Film ........................... 11 Ill. THE LIKELY, OR FEARED, IMPACT OF CITIZENS UNITED AND How IT RELATES TO A VA TAR .................................. ........ 15 IV. CONCLUSION............................................... 20 * Professor of Law, Mississippi College School of Law. I greatly appreciate this opportunity to publish my ongoing work and to respond additionally through this essay to presentations made at the Pursuit of Justice Conference, a collaborative event organized by the Gonzaga University School of Law, the Gonzaga Institute for Hate Studies, and the Washington State Task Force on Race and the Criminal Justice System.
    [Show full text]
  • Faith Review of Film 3
    Union-PSCE, Charlotte Theology and Film Professor Pamela Mitchell-Legg No Juarez, Spring 2010 Faith Review of Film 3 Film Title : Whale Rider Year : 2002 Director : Niki Caro (Based on the book The Whale Rider by Witi Ihimaera) Original release form : Theaters Current Availability and Formats : DVD Genre : Drama, Family Story Elements: Cast: Keisha Castle-Hughes …………………. Paikea Apirana Rawirei Paratene ………………………..Koro Apirana Vicky Haughton ……………………… Nanny Flowers Cliff Curtis……………………………….Porourangi Grant Roa ……………………………….Uncle Rawiri Mana Taumaunu ………………………. Hemi Rachel House ………………………….. Shilo Taungaroa Emile ……………………….Willie Tammy Davis ………………………… Dog Plot Summary: Whale Rider is the story of young the girl Paikea, the newest descendant of the native community called Maori in New Zealand. This community struggles to find its place between their traditions and modernity. Paikea is the survivor of twins. Her brother and mother died the day Paikea was born. The grandfather Koro, the leader of Maori community was hoping for the baby boy to survive in order to make him the new leader of the community but only the girl survived. When the father of Paikea realizes that Koro rejects his granddaughter decides to migrate to Germany leaving her daughter Paikea. Meanwhile, Paikea faces rejection, but finds strength and comfort with her grandmother and searches her place in the community. In order to conserve the traditions of their ancestors, Koro decides to start a school for the boys. Paikea is convinced that she can also learn with the boys of the community but the grandfather does not allow her to be in the school. But soon, with the help of her uncle, Paikea learns all the skills and stories of her ancestors and wins a regional speech contest at her school.
    [Show full text]