DOCSLIB.ORG

This Is Wellington the Representation of Wellington in New Zealand

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Is Wellington the Representation of Wellington in New Zealand THIS IS WELLINGTON I This is Wellington The Representation of Wellington in New Zealand Tourism Film from 1912 to 2017 By Diego Bonelli A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington (2018) THIS IS WELLINGTON II THIS IS WELLINGTON III ABSTRACT This thesis analyses the representation of Wellington in tourism films between 1912, the year in which the first New Zealand tourism film depicting Wellington was released, until 2017, the production year of the last case study. It also aims to trace both the dynamics of formal, stylistic and narrative development and the contexts of circulation of New Zealand tourism film. This thesis relies on the textual analysis of case studies conceived for different distribution platforms, selected according to their stylistic, formal, thematic and narrative relevance and to the availability of related archival documents; on the analysis of archival material related to New Zealand film production; on interviews with key informants involved in local tourism film production and tourism marketing; on the analysis of scholarly sources. This research argues that the depiction of Wellington has been regularly underpinned by a set of economic, social and political factors that changed throughout time and that determined shifts and turning points in its representation. More broadly, it observes how New Zealand tourism film was on the one hand characterised by a tendency towards formal, stylistic and narrative experimentation while on the other it was constantly subjected to forms of institutional planning and control. This thesis aims to contribute to film studies in different ways. First, it defines tourism film as a subject of study, identifying its characteristics and recognizing its importance and persistence in the context of New Zealand film production. Secondly, it proposes a research methodology for tourism film based on the combined examination of different types of primary and secondary sources that can be potentially applied in different geographic contexts. Finally, it sheds light on the shifts and turning points in the representation of Wellington and New Zealand urban and suburban space throughout over a century of national tourism promotion and tourism film production. In this research, the term ‘tourism film’ has been used in its broadest sense and it is meant to include the variety of technologies and media texts that emerged throughout the analysed 105 years time frame covered in this thesis. THIS IS WELLINGTON IV THIS IS WELLINGTON V ACKNOWLEDGEMENTS To my supervisors, Dr Alfio Leotta and Associate Professor Thierry Jutel, who guided me throughout these three and a half years of study and research, always trying to bring out the best in me and in my thesis. Thanks to their knowledge, valuable advice and constant professional and personal support I have been able to adjust to a totally new academic context, to work effectively and to manage the ups and downs of my research journey without too much stress and pressure. To Professors Trisha Dunleavy and Minette Hillyer, whose suggestions and knowledge of New Zealand film history and the media world proved fundamental for my research. To colleagues Dr. Duncan Anderson and Dr. Simin Littschwager, for the very useful advice provided during my research. To Ngā Taonga-New Zealand Film Archives, Archives New Zealand and New Zealand National Library-Alexander Turnbull Library staff for helping me to trace most of the archival documents I used for this research. To my proofreaders, Heather Carew and Suze Randal, for their essential help and support. To Professor Marco Sonzogni. Thanks for your personal and professional support. Your friendship has been extremely important to me. To Victoria University of Wellington for awarding me a Victoria Doctoral Scholarship and a Submission Scholarship that allowed me to work for more than three years without excessive financial pressure. Also, thanks to the SEFTMS staff for their kindness and great professionalism. To WREDA’s marketing manager David Perks, to film directors Hugh Macdonald and Robert Sarkies and to public relations professional Anna Dean for their time and for providing me with information fundamental to my research. THIS IS WELLINGTON VI To my parents, Anna and Renato, to my sister Leila, to my brother-in-law Marco, to my nieces Lucrezia Victoria and Veronica, to my aunt Franca, to my uncle Romano and to all of my family members, who constantly encouraged and supported me throughout this life and work experience 20.000 kilometres from home. To all of my friends in Wellington, and especially to Paolo Del Canuto, Manu Verma, Flavio Palmiro, Erica Black, Hugo Liebert Ferrandis, Ramesh Parmar, Dor Fadlon, Duncan Tamati and Ajay Chouan. To all of my friends in my beloved hometown of Fidenza: Bazzo, Pippo, Berna, Armes, Gughi and many others. I have been missing you greatly. Last but not least – to Roya Jabarouti, my partner, whose love, dedication, precious advice, constant encouragement and delicious Iranian cuisine gave me extra energy and motivation. THIS IS WELLINGTON VII THIS IS WELLINGTON VIII TABLE OF ABBREVIATIONS USED IN THIS THESIS AND REFERENCE STYLE APW: Absolutely Positively Wellington GPO: Government Publicity Office LOTR: Lord of the Rings NFU: National Film Unit NZFC: New Zealand Film Commission NZTB: New Zealand Tourism Board PWT: Positively Wellington Tourism TNZ: Tourism New Zealand WREDA: Wellington Regional Economic Development Agency This thesis has been written according to the rules of APA reference style (6th edition). Line spacing and page margins were set according to Victoria University of Wellington’s formatting rules. THIS IS WELLINGTON IX THIS IS WELLINGTON X TABLE OF CONTENTS ABSTRACT III ACKNOWLEDGEMENTS V TABLE OF ABBREVIATIONS VIII TABLE OF CONTENTS X INTRODUCTION 1 Chapter Outline 5 CHAPTER ONE RESEARCH METHODOLOGY 1.1 Introduction 11 1.2 Primary Sources Availability 12 1.3 Case Studies: Selection Criteria 13 1.4 Textual Analysis 15 1.5 Archival Documents 17 1.6 Interviews 19 THIS IS WELLINGTON XI CHAPTER TWO THE URBAN, THE SUBURBAN AND THE EXTRA-URBAN: CULTURAL IDENTITIES, CINEMATIC REPRESENTATIONS AND TOURISM PROMOTION IN NEW ZEALAND 2.1 Introduction 23 2.2 Cinema and the City 2.2.1 The Academic Debate 25 2.2.2 Cinema and the City: A Historical Overview 26 2.3 New Zealand Geographic Spaces and Their Cultural Relevance 2.3.1 Extra-Urban Space, Landscape and Cultural Identity in New Zealand 33 2.3.2 The Representation of New Zealand Extra-Urban Space in Local Cultural 35 Production 2.3.3 New Zealand Suburban World: Its Cultural and Cinematic Relevance 38 2.3.4 New Zealand Urbanism and Cultural Identity 41 2.3.5 The Case of Wellington 44 2.3.6 The Representation of Urban Centres in New Zealand Film Production 46 2.4 Tourism Film as a Media Form 2.4.1 Tourism Film. A Conceptual Challenge 48 2.4.2 Tourism Film. A Historical Overview and a New Zealand Perspective 50 2.5 Conclusions 54 THIS IS WELLINGTON XII CHAPTER THREE 1912-1941. SWEET SUBURBIA AND THE BUSTLING CITY. WELLINGTON IN EARLY NEW ZEALAND FILM 3.1 Introduction 56 3.2 Early New Zealand Film Production and National Publicity: A Strong Bond 58 3.3 Tourist Resorts, Alpine Playgrounds and Overseas Promotion: The Birth of a 62 National Tourism Industry 3.4 New Zealand Tourism Film in the Early Era: Recurring Subjects and Themes 64 3.5 New Zealand Cities in the 1920s and the 1930s: Suburbs, Beaches and Bustling 66 Central Areas 3.6 Suburban Lifestyle and Capitalist Dynamism: the Multilayered Dynamics of Wellington’s Representation 3.6.1 The Particular Appeal of Wellington’s Suburbia 68 3.6.2 Suburban Sprawl and Colonial Agenda 72 3.6.3 Recurring Themes and Ideological Roots in the Celebration of 73 Wellington’s Urban Modernity 3.6.4 Wellingtonians are Part of the Picture: A Turning Point in Cinematic 79 Sensibility 3.7 Conclusions 83 THIS IS WELLINGTON XIII CHAPTER FOUR 1942-1966. UNPREDICTABLE CLIMATE, ROLLING HILLS AND SPECTACULAR COASTLINE: THE MANUFACTURING AND MARKETING OF WELLINGTON’S OWN CHARACTER 4.1 Introduction 87 4.2 The Temporary Decline of Fiction and the Coming of Age of New Zealand Non- 90 Fiction Film 4.3 A Gradual but Inexorable Growth. New Zealand Tourism Industry from 95 Isolation to Interconnection 4.4 Urban Images, Suburbanism and Scenic Views: Continuity and Change in New 99 Zealand Tourism Film Production 4.5 Urban Representation: Celebration and Prejudices 107 4.6 The Promotion of Wellington’s ‘Personality’ 4.6.1 Suburban Celebration and CBD’s Architecture: The Persistence of 110 Deeply-Rooted Conventions 4.6.2 A New Wave in the Tourism Representation of Wellington: Elements of 116 Change in Wellington Tourism Films 4.6.3 The Face of a Wellingtonian: The Emergence of Individuality in 122 Wellington’s Tourism Films 4.7 Conclusions 127 THIS IS WELLINGTON XIV CHAPTER FIVE 1967-1991. NEW ZEALAND AND WELLINGTON TOURISM FILM IN THE AGE OF TV: THE LONG ROAD TO ‘ABSOLUTELY POSITIVELY WELLINGTON’ 5.1 Introduction 130 5.2 Television, the Independents, the NFU. Hybridisation and Mutual Influences 133 in National Tourism Film Production 5.3 International Boom and Domestic Decline. New Tourist Patterns in the Long- 136 Haul Jet Era 5.4 Television Circulation, Theatrical Distribution and Film Festivals: The 140 International Spread of New Zealand Tourism Film 5.5 Urban Appeal and Cities’ Character: The Increasing Importance of New 148 Zealand Cities in National Tourism Film Production 5.6 From Art Film to TV Ads, From Reflection to Action. The Multifaceted Nature of Wellington Tourism Film Between 1966 and 1991 5.6.1 Creative, Interesting, Nonconformist, Unique: Wellington’s Lifestyle as 153 a Thematic Cornerstone in Tourism Promotion 5.6.2 Artistic Ambitions and Television’s Influence: New Ways of ‘Telling’ 159 and Promoting the City 5.7 Conclusions 163 THIS IS WELLINGTON XV CHAPTER SIX 1992-2017.
Load more

Recommended publications
  • For More Information on the Tongariro and Whanganui National Park Please Visit:Wild About New Zealand Travel Information Web
    WILD ABOUT NEW ZEALAND - TONGARIRO & WHANGANUI NATIONAL PARK EPISODE GUIDE 2013 Episode Four: Tongariro – Whanganui National Park, Wild About New Zealand Series. Aired: Tuesday, September 24th, 8.30 on TV ONE By Gus Roxburgh The Wild About New Zealand Episode guides provide a simple overview for viewers on planning a trip to the National Park featured in the TV series. What can you visit? What is easily accessible? What needs more planning and preparation? Plus top tips on things to do in and around the National Parks. The guides are written by series presenter, Gus Roxburgh who spent 18 months on adventures – both big and small, in all our National Parks featured in the series. The information is designed to get New Zealanders to move from the inspiration of the TV series to action - and head out to explore our world renowned National Parks. Gus is presenter of the TV series, Wild About New Zealand, and principal author of the book of the series being published by Random House in October 2013 Content developed with Visit Ruapehu, Wanganui, Department of Conservation and Jasons Travel Media. For more information on the Tongariro and Whanganui National Park please visit: Wild About New Zealand Travel Information Web Site: www.wildaboutnewzealand.co.nz 1 | P a g e Wild About New Zealand Episode Guide WILD ABOUT NEW ZEALAND - TONGARIRO & WHANGANUI NATIONAL PARK EPISODE GUIDE 2013 Episode Guide Sections: i. Essential Travel Information incl. Why You Should Visit, What is So Special, Getting There & 5 Top Things to Do ii. Expanded Itineraries incl. Gus’ Picks for 1, 2 and 4 Day Trips to Tongariro and Whanganui National Park TONGARIRO AND WHANGANUI NATIONAL PARK Tongariro National Park by Tourism New Zealand ESSENTIAL TONGARIRO & WHANGANUI NATIONAL PARK TRAVEL INFORMATION Why You Should Visit and What is So Special Getting There Gus’ Top 5 Things to Do in Tongariro and Whanganui AS SEEN ON TELEVISION – WILD ABOUT NEW ZEALAND.
    [Show full text]
  • Deadlands: Reloaded Core Rulebook
    This electronic book is copyright Pinnacle Entertainment Group. Redistribution by print or by file is strictly prohibited. This pdf may be printed for personal use. The Weird West Reloaded Shane Lacy Hensley and BD Flory Savage Worlds by Shane Lacy Hensley Credits & Acknowledgements Additional Material: Simon Lucas, Paul “Wiggy” Wade-Williams, Dave Blewer, Piotr Korys Editing: Simon Lucas, Dave Blewer, Piotr Korys, Jens Rushing Cover, Layout, and Graphic Design: Aaron Acevedo, Travis Anderson, Thomas Denmark Typesetting: Simon Lucas Cartography: John Worsley Special Thanks: To Clint Black, Dave Blewer, Kirsty Crabb, Rob “Tex” Elliott, Sean Fish, John Goff, John & Christy Hopler, Aaron Isaac, Jay, Amy, and Hayden Kyle, Piotr Korys, Rob Lusk, Randy Mosiondz, Cindi Rice, Dirk Ringersma, John Frank Rosenblum, Dave Ross, Jens Rushing, Zeke Sparkes, Teller, Paul “Wiggy” Wade-Williams, Frank Uchmanowicz, and all those who helped us make the original Deadlands a premiere property. Fan Dedication: To Nick Zachariasen, Eric Avedissian, Sean Fish, and all the other Deadlands fans who have kept us honest for the last 10 years. Personal Dedication: To mom, dad, Michelle, Caden, and Ronan. Thank you for all the love and support. You are my world. B.D.’s Dedication: To my parents, for everything. Sorry this took so long. Interior Artwork: Aaron Acevedo, Travis Anderson, Chris Appel, Tom Baxa, Melissa A. Benson, Theodor Black, Peter Bradley, Brom, Heather Burton, Paul Carrick, Jim Crabtree, Thomas Denmark, Cris Dornaus, Jason Engle, Edward Fetterman,
    [Show full text]
  • 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]
  • Inte Ernation Nal Airw Ways Vo (Iav Olcano W Vwopsg)
    IAVWOPSG/7-WP/41 International Civil Aviation Organization 8/2/13 WORKING PAPER INTERNATIONAL AIRWAYS VOLCANO WATCH OPERATIONS GROUP (IAVWOPSG) SEVENTH MEETING Bangkok, Thailand, 18 to 22 March 2013 Agenda Item 5: Operation of the IAVW 5.1: Implementation of the IAVW, includingg the IAVW management reports VAAC WELLINGTON MANAGEMENT REPORT (Presented by New Zealand) SUMMARY Pursuant to Conclusion 1/2 of the IAVWOPSG/1 Meeting, VAAC Provider States were invited to provide a concise IAVW management report to be presented at every IAVWOPSG meeting coverinng the period elapsed since the previous meeting and addressing the main features of the IAVW operations, highlighting any recent developments and difficulties and future planned developments. The report prepared by New Zealand is presented for the group’s review and consideration. Action by the IAAVWOPSG is in paragraph 9. 1. EXECUTIVE SUMMARY 1.1 VAAC Wellington, operated by Meteorological Service of New Zealand Limited (MetService), has remained operational for the reporting period with no outages. 1.2 Advisories have been issued in relation to siggnificant eruptive activity at New Zealand’s Mount Tongariro and White Island volcanoes. Advisories were issued for a brief period in response to reports of volcanic activity on Tofua Island in Tonga, which were subsequently discounted. 1.3 Twice weekly testing of VAAC operational procedures was carried out through the period. (5 pages) IAVWOPSG.7.WP.041.5.docx IAVWOPSG/7-WP/41 - 2 - 2. INTRODUCTION 2.1 MetService has operated VAAC Wellington since the inception of VAACs as part of the IAVW. VAAC Wellington works in close collaboration with GNS Science (GNS), which is responsible for volcano monitoring in New Zealand.
    [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]
  • No 87, 17 September 1942, 2371
    JlumlJ. 87. 2371 THE NEW ZEALAND GAZETTE WELLINGTON, THURSDAY, SEPTEMBER 17, 1942. Land proclaimed as Road, and Road closed, in Block I, Tutaki Survey District, Murchison County. [L.S,] C. L. N. NEWALL, Governor-General. A PROCLAMATION. N pursuance and exercise of the powers conferred by section twelve of the Land Act, 1924, I, Cyril Louis Norton Newall, the Governor­ I General of the Dominion of New Zealand, do hereby proclaim as road the land described in the First Schedule hereto; and also do hereby proclaim as closed the road described in the Second Schedule hereto. FIRST SCHEDULE. LAND PROCLAIMED AS ROAD. Approxi:qrate Areas I of the Pieces of Land Being Shown on Plan Coloured on proclaimed as Road. Plan I A. R P. 0 2 4 Part Section 91, Square 138 (Ferry Reserve) P.W.D. 112244 Yellow. 0 2 20 Part Section 91, Square 138 (Ferry Reserve) 0 0 0·3. Part Section 55 (Ferry Reserve) .. (S.O. 9255.) 0 1 6 Part Section 97 P.W.D. 108877 Yellow. 0 3 27 Part Section 61, Square 170 Blul'. 0 2 17 Part Section 61, Square 170 0 1 29 Part Section 61, Square 170 0 0 15 River-bed adjoining Section 61, Square 170 0 0 16 Part Section 61, Square 170 (Scenic Reserve) 0 0 23 Part Section 61, Square 170 (Scenic Reserve) (S.O. 9069.) (Nelson R.D.) I SECOND SCHEDULE. ROAD CLOSED. Approximate Areas I Adjoining or passing through Coloured on of the Pieces of Road Shown on Plan Plan closed. I A, R.
    [Show full text]
  • Park Road Post Production Wins an IBC2013 Innovation Award with Leading Technology Partner SGO
    Press Release Park Road Post Production wins an IBC2013 Innovation Award with leading Technology Partner SGO SGO Mistika's Unique workflow helped to produce world's first HFR Stereo 3D in The Hobbit Trilogy IBC2013, Amsterdam, 20th September 2013 - SGO is thrilled to announce that Park Road Post Production won an IBC2013 Innovation Award for their pioneering work on “The Hobbit: An Unexpected Journey”, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM) – the world’s first High Frame Rate Stereoscopic 3D feature film – directed by Peter Jackson. Arguably one of the most significant developments in the last 80 years of cinema, Park Road - with technology partner SGO - spearheaded innovation throughout the acquisition and post production pipeline that provides new creative opportunities to all filmmakers, and a new exciting experience for film audiences. The IBC Innovation Awards recognise those who have made a real contribution to the industry and whose expertise has had a positive impact on its future direction. The award goes to the end user who has brought together a technology partner and collaborator to realise a creative, commercial or technical goal. The project was selected from over 200 entries, winning in the Content Creation category. In addition, the 2013 IBC International Honour for Excellence was presented to movie director Sir Peter Jackson. Miguel Angel Doncel, SGO's CEO outlines his company's participation in the delivery of The Hobbit: An Unexpected Journey by stating, “We are aware that a post production company of Park Road’s stature, when making a film with a world-class director like Peter Jackson, could choose any technology partner they wanted.
    [Show full text]
  • Film Reviews Jonathan Lighter
    Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is.
    [Show full text]
  • 2.5 Tourism and Ecosystem Services in New Zealand
    TOURISM 2.5 TOURISM AND ECOSYSTEM SERVICES IN NEW ZEALAND David G. Simmons Lincoln University, PO Box 85084, Lincoln University, Lincoln, New Zealand ABSTRACT: Tourism is an important and growing economic activity in New Zealand. While promotional activities highlight New Zealand’s biodiversity and ‘clean green’ image under a 100% pure brand, relatively little is known of its draw on ecosystem functions and services. Preliminary analyses of the sector’s eco-effi ciency highlight both the complexity of the sector and its relatively-polluting nature. Tourism is, however, a two-edged sword in that it also provides an economic initiative for the designation and management of protected natural areas. Given the size, activity volumes and growth trajectory of the sector, non-market and resource-use and effi ciency evidence to support tourism policy and planning is now urgently required. Key words: clean green image, co-effi ciency, recreation, tourism. NATURE OF ECOSYSTEM SERVICES AND THEIR RELATIONͳ (both physical and psychological), and social components (cultur- SHIPS TO TOURISM al identity, social networks, and so on). New Zealand’s biophysical resources and functions (includ- Even in their simplest forms descriptions of ecosystem ing indigenous biodiversity), wherever they are found – from the services and their human benefi ts provide overt links to the mountains to the sea – are the cornerstone of the New Zealand role and functions of leisure, recreation and tourism in the life tourism ‘product’. The tourism sector depends on the biophysical of New Zealanders. These three human spheres of activity are environment and ecosystem functions for land (accommodation, commonly linked and are argued to fulfi l the same set of basic roads), water, energy inputs, minerals, biodiversity, and a whole human social, psychological and physiological needs (Moore host of ecosystem services such as climate and greenhouse gas et al.
    [Show full text]
  • Pristine, Popular... Imperilled? the Environmental Consequences of Projected Tourism Growth
    Pristine, popular... imperilled? The environmental consequences of projected tourism growth December 2019 This report has been produced pursuant to subsections 16(1)(a) to (c) of the Environment Act 1986. The Parliamentary Commissioner for the Environment is an independent Officer of Parliament, with functions and powers set out in the Environment Act 1986. His role allows an opportunity to provide Members of Parliament with independent advice in their consideration of matters that may have impacts on the environment. This document may be copied provided that the source is acknowledged. This report and other publications by the Parliamentary Commissioner for the Environment are available at pce.parliament.nz. Parliamentary Commissioner for the Environment Te Kaitiaki Taiao a Te Whare Pāremata PO Box 10-241, Wellington 6143 Aotearoa New Zealand T 64 4 471 1669 F 64 4 495 8350 E [email protected] W pce.parliament.nz December 2019 ISBN 978-0-947517-18-2 (print) 978-0-947517-19-9 (electronic) Photography Hokitika Gorge, sydneydawg2006, Flickr; Tongariro Crossing, Andrea Schaffer, Flickr; Palo Alto Airport, Paul Downey, Flickr. Chapter header fern images by Rob Suisted, www.naturespic.co.nz. Pristine, popular... imperilled? The environmental consequences of projected tourism growth December 2019 Acknowledgements The Parliamentary Commissioner for the Environment is indebted to a number of people who assisted him in bringing this report to completion. Special thanks are due to Lena MacCarthy who led the project, supported by Dr Carl Walrond,
    [Show full text]
  • INFO EXPRESS Y7-9 Term 4 Week 1 17 October - 23 October 2011
    INFO EXPRESS Y7-9 Term 4 Week 1 17 October - 23 October 2011 Virtue: Enthusiasm Enthusiasm is being cheerful, happy, and full of spirit. It is Please check the entry page for doing something wholeheartedly and eagerly. When you attachments related to: are enthusiastic, you have a positive attitude. Enthusiasm Victoria University, Public lecture. is being inspired. House Music DVD. Y7 Vision Testing Dates to note Monday 17 October Regional Public Health provides a vision screening Staff only day. programme at school during Year 7 and this will take place Tuesday 18 October at Marsden on Thursday 29 September. Pupils will be Term 4 begins (full summer or full advised of results at the time of testing. If further winter uniform may be worn this assessment is recommended you will be notified by mail. week but uniforms may not be Children who wear glasses and/or are under professional mixed). care and have regular checks will not require a vision Thursday 20 October check by this service. Please notify the school nurses 7.30pm Old Girls’ Association Nadine Smith ( [email protected] ) and meeting , Swainson Room. Sally Allen ( [email protected] ) if you DO NOT agree to your daughter being screened. Monday 24 October Please note that this screening test is not a full assessment Labour Day – School closed. of your daughter’s vision. If you have any concerns, please Tuesday 25 October consult an optometrist. Summer Uniform only from today. Y7/8 Life Education at school until House Music DVD: orders due Friday 21 October Friday.
    [Show full text]
  • New Zealand Meets South Korea: Strategies for Film Co-Productions Between Two Countries
    http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. New Zealand meets South Korea: Strategies for film co-productions between two countries A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Screen and Media Studies Department at The University of Waikato by JuHee Kim Year of submission 2017 Abstract This study investigates the state of international film co-productions between New Zealand and South Korea and whether such co-productions are possible, and if so, which modes or types of film co-productions are likely to succeed. The study is framed in the context of the two countries as well as the rapidly changing global marketplace. Increasingly, international film co-productions have gained importance in the film industry paralleling a growing tendency towards cross- border filmmaking. However, the phenomenon of international film co- productions, specifically between New Zealand and South Korea, has not been fully investigated to date.
    [Show full text]