DOCSLIB.ORG

Moderní Zobrazení Maorských Válečníků V Současných Novozélandských Filmech

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Moderní Zobrazení Maorských Válečníků V Současných Novozélandských Filmech Moderní zobrazení maorských válečníků v současných novozélandských filmech Diplomová práce Studijní program: N7503 – Učitelství pro základní školy Studijní obory: 7503T009 – Učitelství anglického jazyka pro 2. stupeň základní školy 7503T045 – Učitelství občanské výchovy pro 2. stupeň základní školy Autor práce: Bc. Monika Bartoňová Vedoucí práce: Sándor Klapcsik, Ph.D. Liberec 2017 Modern Representation of Maori Warriors in Contemporary New Zealand Films Master thesis Study programme: N7503 – Teacher training for primary and lower-secondary schools Study branches: 7503T009 – Teacher Training for Lower Secondary Schools - English 7503T045 – Teacher training for lower-secondary school. Subject - Civics. Author: Bc. Monika Bartoňová Supervisor: Sándor Klapcsik, Ph.D. Liberec 2017 , Technická univerzita v Liberci Fakulta přírodovědně-humanitní a pedagogická Akademický rok: 2Oró /2OL6 zAD^xÍ Irrpr,oMovE pnÁcp (PROJEKTU, UMĚLECKÉHO DÍlA, UMĚLECKEHo vÝNoNU) Jméno a příjmení: Bc. Monika Bartoňová Osobní číslo: P15000626 Studijní program: N7503 Učitelstvípro základní školy Studiiní obory: Učitelstvíanglického jazyka pro 2. stupeň základní školy Učitelstvíobčanské výchovy pro 2. stupeň základní školy Moderní zobtazení maorských válečníkův současných Název tématu: novozélandských fi lmech Zadávající katedra: Katedra anglického jazyka Zásady pro vypTacování: Práce se zabÝvá filmovým zobrazenim maorských l,álečníkův současných novozélandských fil- rnech, například Once Were Warriors (1994), What Becomes of the Broken Hearted? (1999), Crooked Earth (2001), Whale Rider (2003), River Queen (2005), Boy (2010), The Dead Lands (2014) a The Last Saint (2014), První část bude věnor,ána popisu tradičního maorského váleČ- rríka, který je členem kmenových struktur a často se účastníbojů proti britským kolonizáto- rům. Druhá část se bude zabývat analýzou různých zprisobů zobrazení maorských válečníkŮ v současnémfilmu a popisem typických postav, do nichž se tito válečnícist1,,1izují.Hlavními metodami výzkumu jsou studium literatury a analýza vybraných filmů. Rozsah grafických prací: Rozsah pracovní zprávy: Forma zpracování diplomové práce: tištěná/elektronická Jazyk zpracování diplomové práce: Angličtina Seznam odborné literatury: ADAH, Anthony. 2001. Post-and re-colonizing aotearoa screen: Violence and identity in Once Were \Marriors and What Becomes of the Broken Hearted? Film Criticism 25, (3) (Spring): 46-58,70, Accessed: April Io, 2oI4. 1 71 1 6 . http: f f search.proquest. com/docview / 2OO8g928 7?accountid_ GOLDSMITH, Ben a Lealan GEOFF eds. 2010. Directory of World Cinema: Austra]ia k New Zealand, vo1.3. Bristol: Intellect Books. ISBN 978-1-84150-373-8. KEOWN, Michelle. 2008. 'He Iwi Kotahi Tatou'?: Nationalism and Cultural Identity in Maori Film. In ContempoIaIy New Zea]and Cinema: From New Wave to B]ockbuster, 2aO8. edited by Ian Conrich, Stuart Murray, L97 - 210. London: I. B. Tauris. ISBN: 978-1-845LI-837-2. MORAN, Albert a Errol VIETH. 2009. The A to Z Austra]ian and New Zea]and Cinema. The A to Z Guide Series, No. 48. Plymouth: The Scarecrow Press, Inc. SINCLAIR, Keith a kol. 2003. Dějiny Nového Zélandu. Praha: Nakladatelství Lidové noviny. Vedorrcí diplomové práce: Sándor Klapcsik, Ph.D. Katcdra anglického jazl,ka Datum zadání diplomové práce: 30. dubna 2016 Termín odevzdání diplomové práce: 30. dubna 2OI7 7 4^1 w. YiceU., Cý '., j,- děkan vedoucí katedry V Liberci dne 30. dubna 2016 Prohlášení Byla jsem seznámena s tím, že na mou diplomovou práci se plně vzta- huje zákon č. 121/2000 Sb., o právu autorském, zejména § 60 – školní dílo. Beru na vědomí, že Technická univerzita v Liberci (TUL) nezasahuje do mých autorských práv užitím mé diplomové práce pro vnitřní potřebu TUL. Užiji-li diplomovou práci nebo poskytnu-li licenci k jejímu využití, jsem si vědoma povinnosti informovat o této skutečnosti TUL; v tom- to případě má TUL právo ode mne požadovat úhradu nákladů, které vynaložila na vytvoření díla, až do jejich skutečné výše. Diplomovou práci jsem vypracovala samostatně s použitím uvedené literatury a na základě konzultací s vedoucím mé diplomové práce a konzultantem. Současně čestně prohlašuji, že tištěná verze práce se shoduje s elek- tronickou verzí, vloženou do IS STAG. Datum: Podpis: Acknowledgement At first, I would like to express my gratitude to my supervisor Sandor Klapcsik, Ph.D for his valuable advice, support, enthusiasm and time dedicated to this paper. Also for being available any time I got into a troublesome phase and needed guidance. Secondly, I would like to thank to my parents and my partner for being such a great support throughout the process of writing of this thesis and through my years of study. Annotation: This thesis deals with the representation of the Maori warrior in recent New Zealand films. It provides a brief overview of the historical background. In particular, the tribal way of life and the social structure of Maori is mentioned, and the features of traditional Maori warriors are presented. The paper describes the causes and consequences of changes in New Zealand after the arrival of Europeans and subsequent colonization, the urbanization which led to the loss of traditional bonds, culture and language. During the period of revival of Maori culture, the Maori renaissance, the Maori people gradually improved their status. Due to these events, two newer forms of warriors appeared in present society, the gang members and the so-called New Warriors. Further, the focus is on the depiction of these three types of warriors via analyses of the chosen New Zealand films produced over the last three decades. Key words: New Zealand, Maori, films, warriors, gangs, New Warriors Anotace: Tato práce se zabývá zobrazením maorských válečníků v současných novozélandských filmech. Uvádí stručný přehled historických reálií. Především se soustředí na tradiční způsob života maorských válečníků a hierarchii v jejich společnosti, dále se věnuje příčinám a následkům v jejich životě způsobených příjezdem a následnou kolonizací Evropany, urbanizaci, která byla hlavní příčinou ztráty jejich sociálních vazeb, kultury i jazyka. Díky období oživení maorské kultury, které se nazývá maorskou renesancí, se postupně zlepšoval jejich sociální status. Následkem těchto událostí byl zrod dvou nových typů válečníků v současné společnosti, členové gangů a takzvaní noví válečníci. Druhá část se zaměřuje na znázorňování těchto třech typů válečníků skrze analýzu novozélandských filmů vyprodukovaných v průběhu posledních třiceti let. Klíčová slova: Nový Zéland, Maorové, filmy, válečníci, gangy, nový válečníci Table of Contents 1 Introduction ...................................................................................... 9 2 Maori Warriors: Past and Present ............................................... 10 2.1 The Social Organization ................................................................................. 10 2.2 Hierarchy in Maori society ............................................................................. 12 2.3 Traditional Maori warriors ............................................................................. 13 2.4 Moko, the tattoo .............................................................................................. 14 2.5 The Causes of the Change in Maori Life ........................................................ 16 2.6 Gangs and Gang Members ............................................................................. 18 2.7 Maori Renaissance .......................................................................................... 20 2.8 The New Warrior ............................................................................................ 21 3 Film Analyses .................................................................................. 22 3.1 New Zealand Film Industry ............................................................................ 22 3.1.1 Maori feature films .............................................................................. 23 3.1.2 The images of Maori Warriors – An Overview .................................. 26 3.2 Films in which Traditional Warrior Dominates ............................................. 27 3.2.1 The Dead Lands (2014) ....................................................................... 27 3.2.2 Utu (1983) ........................................................................................... 30 3.2.3 Tracker (2010) ..................................................................................... 34 3.2.4 Crooked Earth (2001) ......................................................................... 36 3.3 Films in which Gang Members and New Warriors Dominate ....................... 38 3.3.1 Once Were Warriors (1994) and What Becomes of the Broken Hearted (1999).. ........................................................................................................... 38 3.3.2 Boy (2010) ........................................................................................... 46 3.3.3 The Dark Horse (2014) ....................................................................... 49 4 Conclusion ....................................................................................... 54 Bibliography: ......................................................................................... 58 1 Introduction The aim of this thesis is to present the depiction of Maori warriors in New Zealand films produced over the last three decades. In fact, it may be considered as a continuation to my Bachelor Thesis, which dealt with the position
Load more

Recommended publications
  • Peter Britos
    PETER BRITOS A Conversation with Merata Mita This conversation took place on January 15th 2003 at about 8pm in Honolulu. We met at Merata’s home offi ce near the campus where her youngest son Hepi is fi nishing up his high school studies. Hepi met me downstairs and escorted me to his mother’s study, where Merata was working on a book about her life experiences. PB: My mother once told me that the cool thing about talking is that sometimes you don’t know a thing existed until you say it. The mere physicality of the act brings you to a place that you couldn’t have gotten to any other way. MM: I’ve known things. And until I’ve articulated them, they’ve never been con- scious. I like the experience of new places and new things and working out how to survive in different environments that are totally dif- ferent ones than I’m used to. But until you articulate that survival, it’s just living. Geoff [Murphy—her producer/director husband] never sees those challenges as being pleas- ant. But I thrive on that sort of thing. In the end I had to agree with him that we should move from Los Angeles. But I didn’t know where, and didn’t really care. And he always had in his mind that the ideal halfway point between Los Angeles and New Zealand would be Hawai`i. So I said aah Polynesians, hmmm. Okay. So we ended up here and he could make whatever film he was making.
    [Show full text]
  • This Action Thriller Futuristic Historic Romantic Black Comedy Will Redefine Cinema As We Know It
    ..... this action thriller futuristic historic romantic black comedy will redefine cinema as we know it ..... XX 200-6 KODAK X GOLD 200-6 OO 200-6 KODAK O 1 2 GOLD 200-6 science-fiction (The Quiet Earth) while because he's produced some of the Meet the Feebles, while Philip Ivey composer for both action (Pitch Black, but the leading lady for this film, to Temuera Morrison, Robbie Magasiva, graduated from standing-in for Xena beaches or Wellywood's close DIRECTOR also spending time working on sequels best films to come out of this country, COSTUME (Out of the Blue, No. 2) is just Daredevil) and drama (The Basketball give it a certain edginess, has to be Alan Dale, and Rena Owen, with Lucy to stunt-doubling for Kill Bill's The proximity to green and blue screens, Twenty years ago, this would have (Fortress 2, Under Siege 2) in but because he's so damn brilliant. Trelise Cooper, Karen Walker and beginning to carve out a career as a Diaries, Strange Days). His almost 90 Kerry Fox, who starred in Shallow Grave Lawless, the late great Kevin Smith Bride, even scoring a speaking role in but there really is no doubt that the been an extremely short list. This Hollywood. But his CV pales in The Lovely Bones? Once PJ's finished Denise L'Estrange-Corbet might production designer after working as credits, dating back to 1989 chiller with Ewan McGregor and will next be and Nathaniel Lees as playing- Quentin Tarantino's Death Proof. South Island's mix of mountains, vast comes down to what kind of film you comparison to Donaldson who has with them, they'll be bloody gorgeous! dominate the catwalks, but with an art director on The Lord of the Dead Calm, make him the go-to guy seen in New Zealand thriller The against-type baddies.
    [Show full text]
  • 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,
    [Show full text]
  • New Zealand Movies 2016
    New zealand movies 2016 Continue In the early 1990s, the British Film Institute launched the Century of Cinema Series in an attempt to explore various examples of national cinemas around the world. The film, written and directed by Kiwi actor Sam Neill, has been a contributor to the project. Although his attitude to this topic has gradually changed, Sam Neill concluded in his documentary that the New zealand films are predominantly dark and brooding. This particular era of filmmaking began in the mid-1970s with the rise of the New Wave in cinema. Here, the themes that defined the way the New ealand public viewed themselves on screen put enormous creative pressure on local filmmakers. Since then, the national cinema of New york has experienced a number of unstable stages. Over the years, one of the greatest obstacles that the filmmakers of New York have had to overcome has been the high poppy syndrome of Kiwi culture. Local audiences have been impressed by the talents and creativity of their country's artists, so very few Kiwis will sit and watch New york made productions. National pride for the country's film industry has blossomed recently. Below is a list of the top ten examples of national cinema in New York. It is important to note that despite a key role in the creation of the influential film industry in New York, peter Jackson's Lord of the Rings and The Hobbit series were not included in this book. Instead, the films selected for the list are those that demonstrate the key characteristics of the country's culture.
    [Show full text]
  • A Critical Examination of Film Archiving and Curatorial Practices in Aotearoa New Zealand Through the Life and Work of Jonathan Dennis
    Emma Jean Kelly A critical examination of film archiving and curatorial practices in Aotearoa New Zealand through the life and work of Jonathan Dennis 2014 Communications School, Faculty of Design and Creative Technology Supervisors: Dr Lorna Piatti‐Farnell (AUT), Dr Sue Abel (University of Auckland) A thesis submitted to Auckland University of Technology in fulfilment of the requirements for the degree of Doctor of Philosophy November 2014 1 Table of Contents Abstract ......................................................................................................................................................... 5 Acknowledgements:...................................................................................................................................... 6 Glossary of terms: ......................................................................................................................................... 8 Archival sources and key: ............................................................................................................................ 10 Interviews: .............................................................................................................................................. 10 1 Introduction ............................................................................................................................................. 11 2. Literature Review ...................................................................................................................................
    [Show full text]
  • Once Were Warriors Study Guide
    New Zealand Film Study Guide The following activities are based on the achievement objectives in the New Zealand English curriculum. They may provide a starting point for teachers wishing to design a unit based on the fi lm. Communicado in association with the New Zealand Film Commission, Avalon Studios & New Zealand On Air Present Once Were Warriors Starring Rena Owen, Temuera Morrison & Mamaengaroa Kerr-Bell Story by Alan Duff Screenplay by Riwia Brown Cinematographer Stuart Dryburgh Designer Miahcel Kane Editor Michael Horton Music Murray Grindlay & Murray McNabb Producer Robin Scholes Director Lee Tamahori Writing Poetic Writing Expressive 1 Poem Response Individually or as a class, brainstorm a list of words Write down your feelings in response to the following inspired by the fi lm. Use that list to write a poem. statements or questions. You may refer to both the 2 Children’s Story fi lm and your own experiences. Translate Beth’s “journey” into a fl ow diagram. Decide 1 Grace fi nds comfort in a certain place. Is there a place on a suitable metaphor for that journey. Use that you use (or would like to use) when you are feeling metaphor to write a children’s story. depressed or thoughtful? Describe that place, and 3 Report how it offers you comfort. How could you use this Write the report you might have written about place in a story of your own? Boogie and his family situation, as if you were his 2 The fi lm opens with a billboard. What does this image social worker. suggest about New Zealand? What is your view of 4 Report New Zealand? As a private investigator, track and write a report on 3 Compare the opening and ending of the fi lm with the Jake’s activities in the fi lm.
    [Show full text]
  • Who We Are and What We Do And, Goodbye Andy Reid
    SUMMER 2018 | ISSUE 79 The Screen Industry Guild Aotearoa New Zealand quarterly Farewell Geoff Murphy We review John Reid’s history of John O’Shea and Pacific Films Film Otago, Southland: Who we are and what we do And, goodbye Andy Reid www.screenguild.co.nz Cover your cast & crew Looking at a location that requires on site marquees and facilities for the cast and crew? We provide specialist set outs for catering teams, make up, and costume departments. Continental Event Hire (formerly Hirepool Event Hire) have a huge range of marquees to suit any requirement. We also provide flooring underfoot, side panel options such as windows or transparent walls, and even the essentials for cast and crew catering, such as plastic chairs and trestle tables, glassware, crockery, and cutlery. Our pedigree and knowledge of filming requirements is well established with previous work including: Avatar, Petes Dragon, The lion, the witch and the wardrobe, Narnia, and Mission Impossible. Contact our dedicated film industry specialist | Neil Bosman 027 204 6165 Auckland • Feilding • Nelson • Blenheim • Rangiora • Christchurch • Queenstown • Dunedin EDITORIAL CONTENTS GUILD NEWS & VIEWS Nau Mai! 2 Behind the scenes Haere Mai! Karla Rodgers looks back on a tumultuous year. In this issue, we say goodbye and salute one of the founders of the modern New Zealand film industry. Without 4 President’s rave Geoff, his many collaborators, and the sacrifices made by Annie Weston’s first column. And it’s a ripper. his family, there’s a very real chance that either you or I wouldn’t even be working in this business.
    [Show full text]
  • Closing the Gaps: "Once Were Warriors" from Book to Film and Beyond Author(S): Ruth Brown Source: Journal of New Zealand Literature: JNZL, No
    Journal of New Zealand Literature Closing the Gaps: "Once Were Warriors" from Book to Film and Beyond Author(s): Ruth Brown Source: Journal of New Zealand Literature: JNZL, No. 17 (1999), pp. 141-155 Published by: Journal of New Zealand Literature and hosted by the University of Waikato Stable URL: http://www.jstor.org/stable/20112315 Accessed: 11/01/2010 11:32 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jnzl. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Journal of New Zealand Literature and University of Waikato are collaborating with JSTOR to digitize, preserve and extend access to Journal of New Zealand Literature: JNZL.
    [Show full text]
  • Discussion Paper
    Review of theatre ARTS COUNCIL OF NEW ZEALAND AOTEAROA Discussion Paper June 2015 Contents 1. About the review and this paper .................................................................. 3 Purpose of this theatre review ......................................................................................... 3 The review process so far ................................................................................................. 3 Next steps ......................................................................................................................... 4 2. The context for the review ........................................................................... 5 What we mean by ‘theatre’ .............................................................................................. 5 The New Zealand theatre environment today ................................................................. 5 About Creative New Zealand and our goals ..................................................................... 5 Challenges for New Zealand theatre ................................................................................ 8 3. Supporting New Zealand theatre: Analysis and questions ............................. 9 Creative New Zealand support for theatre: Overview ..................................................... 9 Key infrastructure roles for theatre under the Tōtara programme ............................... 13 Other Tōtara programme issues ....................................................................................
    [Show full text]
  • Taku Rakau E P R E S S K I T
    TAKU RAKAU E P R E S S K I T A legacy … INTERNATIONAL SALES Chelsea Winstanley - StanStrong Ltd - PO Box 90957 - Auckland - NZ Tel +64 845 2954 - Mob +64 21 459745 - [email protected] PRODUCTION NOTES Writer/Director Kararaina Rangihau Producer Merata Mita Co-Producer Chelsea Winstanley Production Company StanStrong Ltd Country of production New Zealand Date of completion 2010 Shooting Format 35mm Screening Format HDCam/35mm Ratio 1:1.85 Duration 12.5 mins Genre Drama World Sales Chelsea Winstanley StanStrong Tel. 649 845 2954 [email protected] 35mm / Stereo / Colour / 12.5mins / 1:2.35 LOGLINE A child is enlightened when her grandmother explains the meaning of a waiata (song) that some have taken for granted. SHORT SYNOPSIS TAKU RAKAU E is a waiata tawhito composed about 1873 by Mihikitekapua of Tūhoe. Now in 2009, some generations later Mihikitekapua’s descendents continue to sing her waiata. In this short film Mihikitekapua laments the loss of land and her family succinctly phrased in a haunting lament. Erana, a young girl is learning Taku Rakau E at school. The school is set in a small rural village on the fringes of the Urewera. Take Rakau E is brought to life by nan who agrees to tell the story of Mihikitekapua to her great – grand – daugter, Erana. The pair drifts back and forth revisiting the times of the great chief Takahi and his warriors. Erena imagines, (sees), that Mihikitekapua searches in vain for Takahi and his people. She develops a strong sense of belonging as the story unfolds, and a new found pride in her tipuna – kuia.
    [Show full text]
  • Planet of the Long White Cloud
    Planet of the Long White Cloud Science Fiction Cinema in New Zealand cultural identity Seth James © 2019. Created as part of Unitec MCP - ICIB 9003 2 This exegesis and project entitled Planet of the Long White Cloud: Science fiction cinema in New Zealand cultural identity’ is submitted in partial fulfillment for the requirements for the Unitec degree of Master of Creative Practice. Principal Supervisor: Dr. Leon Tan Associate Supervisor: Dr. Becca Wood Professional Advisor: Johanna Smith 3 Planet of the Long White Cloud 1. Abstract 4 2. Methods 5 3. Lit Review & Discussion 7 3.1. Science Fiction 7 3.2 The Identity of New Zealand Cinema 15 3.3 New Zealand Scifi Cinema 21 5. Output: Neon Rot Webseries 27 Conclusion & Future of Research 33 Appendix A: Grounded Theory 35 Appendix B: Scripts 39 4 1. Abstract Stargazing in the wilds of New Zealand is a wondrous thing. The cool, clean air chills your lungs, the only sound is the quiet rustle of trees and lonely birds and the sky. The bedazzled ​ ​ night seems to move with glittering stars, with distant galaxies resting in a milky swirl. Those existential thoughts kick in as you stare: what does the future hold for New Zealand? Will this brilliantly starry night still be here in 10 years? What will it be in 100 years? Will we ever settle on those stars? Future pondering continue: maybe the world will become a cultural hotpot as in The Fifth ​ Element (Besson, 1997). It could equally be a technological dystopia The Matrix (Wachowskis’, ​ ​ ​ 1999). Maybe all the cultures will form their own worlds, each diverse and wonderful, like those in the Star Wars franchise(1977-2019).
    [Show full text]
  • Welcome to the 2014 Auckland Writers Festival
    Prize winning fiction ofAdam Johnson and the hot-off-the-press memoir of CONTENTS WELCOME inner circle defector Jang Jin-sung. 8 What’s On 9 Wednesday 14 May TO THE 2014 Following a year where stories of 9 Thursday 15 May surveillance and gender dominated 10 Friday 16 May the public discourse, writers will 14 Saturday 17 May AUCKLAND debate the merits of privacy and 21 Sunday 18 May deliver a powerhouse discussion 27 Family Day on the position of women. 29 Workshops WRITERS 45 Biographies 74 Index Music’s powers of narration will wow 75 Booking and Festival Information in three special performance events, 77 Booking Form FESTIVAL as well as at a session in memory 81 Timetable of Hello Sailor’s Dave McArtney, chaired by Karyn Hay. The brilliance of Jane Austen will be honoured in the CONTACT DETAILS one woman play Austen’s Women and 58 Surrey Crescent, Suite 3, Level 2, we’ll send 30 strangers out to create Grey Lynn, Auckland 1021, New Zealand tales of the night on a Midnight Run Phone +64 (0)9 376 8074 with performer, poet and playwright Fax +64 (0)9 376 8073 Inua Ellams. THE ONLY PLACE TO BE Email: [email protected] Website: writersfestival.co.nz A WORD FROM THE There are exclusive opportunities FESTIVAL DIRECTOR to be entertained by loved writers FESTIVAL TRUST BOARD Nicky Pellegrino and Sarah-Kate Lynch at Toto; take tea with novelists Carole Beu, Erika Congreve, Owen Marshall, Jenny Pattrick and Nicola Legat, Phillipa Muir, Fiona Kidman or go awol over lunch Mark Russell, Sarah Sandley (Chair), with explorer Huw Lewis-Jones at Delina Shields, Peter Wells, the Langham; and hang out at hot Josephine Green (Ex Officio) Auckland joint Ostro with Michelin- starred chef Josh Emett.
    [Show full text]