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The Institutional, Political and Economic Transformation of New Zealand State Broadcasting

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The Institutional, Political and Economic Transformation of New Zealand State Broadcasting Solid to liquid culture: The institutional, political and economic transformation of New Zealand state broadcasting Donald Macgregor Reid A thesis submitted for the degree of Doctor of Philosophy at the University of Otago, Dunedin, Aotearoa-New Zealand 1 Abstract This thesis examines the cultural development of New Zealand state broadcasting and proposes a new institutional paradigm based around the discursive potential of digital and social media. In framing the political, cultural and institutional elements of New Zealand broadcasting through an historical schema based around Zygmunt Bauman’s concept of the shift between ‘solid’ (national) to a ‘liquid’ (global) culture, the thesis examines New Zealand state broadcasting through three distinct cultural phases: as a vehicle for the narrative of the settler colony; as a site for cultural struggle over national identity; and as a means to convey a commodified version of national identity in the era of competitive, trans-global media. I argue that in each of its administrative and governance configurations, the state broadcaster has operated to disseminate the prevailing ideology and in this capacity has never effectively functioned as a public service. Since the 1990s the development of digital media technologies, and the modes of production and consumption associated with those technologies, has made subverting the accepted economic and structural broadcasting paradigm possible. In the final chapter I turn to Habermas’s notion of the public sphere and the concept of public commissioning in order to propose a re-imaged form of public service media in New Zealand. 2 Acknowledgements I begin by acknowledging the support and guidance of my supervisors, Dr Brett Nicholls and Associate Professor Vijay Devadas. Throughout my candidature their unwavering interest and enthusiasm, their advice, and robust and considered critique have kept me motivated towards completion. I am also grateful for the support of the University of Otago. Neither this thesis nor my masters degree could have been completed without the financial assistance provided through the University of Otago Award and University of Otago Scholarship received during my years as a postgraduate. I also wish to thank the staff at the University of Otago’s Central Library and Hocken Library. Special thanks to Judith Holloway at the Hocken, your advice and assistance has been invaluable in completing this project. I thank the faculty, staff, post-graduate and undergraduate community of the Media, Film and Communication Department at the University of Otago. The collegial environment fostered by Head of Department Vijay Devadas and Department Administrator Maureen Lloyd has made MFCO Otago an inspiring and stimulating place to work.. A special place in my heart will always be reserved for my MFCO post-grad colleagues. So Maud Ceuterick, Teri Higgins, Sally Milner, Matthew Ward, David Hoskins, Garth Cartwright, Peter Stapleton, Alison Cumming, Olivier Jutel, Jim Gan, Anita Brady, Massimilana Urbano, Malcolm George, Alex Thong and Jane Ross – thanks for everything. I must also give special mention to Dr Ann Begg who, more than any other, has shared the PhD journey with me and understands the intellectual and emotional challenges inherent in such a project. Finally, all my gratitude goes to my family, my mother Beverly and my father Ralph, my brother Tony and my sisters Kirsten and Martha. My greatest thanks goes to my wife Sandra and my children Frances, Margot and Henry. The completion of this thesis owes everything to your love and support. 3 Table of Contents Abstract………………………………………………………………………………………………….…. 2 Acknowledgements…………………………………………………………………………………….3 Table of Contents………………………………………………………………………………………..4 Images…….………………………………………………………………………………………………..11 Preamble: controversy over public broadcasting in 2012………………………..…14 Introduction……………………………………………………………………………………...…….. 20 Object of study and theoretical framework………………………………………………..……... 22 The Transformations of Culture in New Zealand State Broadcasting………………… 31 Broadcasting Culture in the Service of the Settler Colony………………………...…………33 The Representation of Biculturalism and the ‘Culture of Struggle’……………………...35 State Broadcasting in the post-deregulation era…………………………………………….….37 4 Public Broadcasting through the Public Sphere: a new paradigm for Public Service Broadcasting…………………………………………………………………………..…39 Temporal Limits of this study and the differentiation Between state and public broadcasting……………………………………………………………………………………………………41 Broadcasting culture………………………..…………………………………………………………….. 46 Government funding for local content and public service broadcasting……………...49 Chapter One Broadcasting and culture in New Zealand: influence of the settler colony….54 Zygmunt Bauman’s Two Definitions of Culture......................................................................55 The Industrial, Legal and Cultural Origins of Broadcasting in Britain ……………..…57 Reith’s Vision for the BBC…………………………………..………………………………………………62 Political upheaval and the shifting articulation of class after WW1……………………68 The formative period for the New Zealand national identity…………………...………….72 5 Broadcasting in New Zealand:1920-1935………………………………..……….………………..74 Establishing a national broadcasting infrastructure……….……………………………..….76 New Zealand’s institutional model for broadcasting……………………………………….….79 James Shelley in the formation of the NZBS as a ‘public service’…….…………………...81 The New Zealand Centennial celebrations as a high point for colonial culture……86 Māori, the national narrative and radio era……………………………………….……………...91 The Introduction of television………………………………………………………………………….100 Television’s governance structure and The Sutch Report……………………………..…..101 The establishment of the New Zealand Broadcasting Corporation: beginning of a new cultural era for New Zealand ………………………………………..…107 6 Chapter 2 Biculturalism and the Culture of Struggle in New Zealand Broadcasting.. 116 ‘Culture of struggle’ and Bauman’s ‘liquid’ culture………………………………………….120. Television Broadcasting and the NZBC…………………………………………………………… 127 The New Zealand Broadcasting Authority: the de-centering of responsibility in New Zealand broadcasting…………………...…131 The Adam Report: a new articulation of national identity…………..………….……..…133 Significant Texts: Pukemanu, Tangata Whenua, and The Governor……………….138 Pukemanu (1971-2)………………………………………………………….…..………..…………..….139 Tāngata Whenua (1974)…………………………………………………………………………………144 The Governor (1977)……………………………………………….…………………………….……...150 The Te Reo Claim………………………………………………………………………………………….…154 Debates over Māori broadcasting………………………….………………………..…..……….…162 7 The Māori Television Service and the culture of struggle…………………….…..……….166 Chapter Three The Post-deregulation era: Liquid Modern World……………..…………………...…174 Liquid Culture……………………………………………………………………………...……………..176 Neoliberalism in New Zealand…………………………………………………………………………181 Competition in New Zealand broadcasting……………......................................………....… 189 NZOA: intervention or acquiescence to the commercial mediasphere?..........................................................................................................193 NZOA Perpetuates ‘liquid’ culture……………………………......…………………………………199 The State and the commodification of national identity …………..…………..………. 210 NZOA programming: Inside Child Poverty vs This Town………………….………….. 207 This Town and the Idealized Construction of Rural New Zealand……..................…211 8 Chapter Four Public Broadcasting in New Zealand in the Digital Era…………………………… 220 Non-terrestrial broadcasting in New Zealand since 1990……………………..……….…226 Public service, media scholarship and perpetuation of the ‘standard argument’ ………………………………………..………………………..………..…232 The emergence of a changing mediascape……………………………………………….………236 The public sphere and the failure of conventional Mass Broadcasting…………….. 239 Models of the mediated public sphere……………………………………………..…..……….… 243 The representative model……………………………………………………………………….…….. 245 Representative public sphere and public broadcasting…………………….….……….…247 Participatory and discursive theory of the public sphere………………………….….….248 Interactivity, dialogue and public commissioning……………………………..……………252 The Internet, the public sphere and public commissioning……………………....……..256 9 Flaws in the public commissioning concept……………………………………………..……. 259 Conclusion……………………………………………………………………………………….……….. 264 Bibliography……………………………………………………………………………………………..269 10 Images Figure 1.1: Image from the Pataka Museum Collection, at Porirua Library ref P.1.97. Available from: http://www.pcc.govt.nz/About-Porirua/Porirua-s- heritage/Porirua-s-suburbs/Titahi-Bay/Historic-site--Radio-New-Zealand- Transmission-Station (accessed December 2, 2013) Figure 1.2: Sir James Shelley image from Te Ara, The Encyclopedia of New Zealand. http://www.teara.govt.nz/en/photograph/1855/james-shelley-1931 (accessed November 12, 2013) Figure 1.3: This Postage stamp issued to commemorate the New Zealand centennial in 1940 signifies the strong relationship between New Zealand and Great Britain as it was articulated in official documentation. Image from Te Ara, The Encyclopedia of New Zealand. http://www.teara.govt.nz/en/artwork/33214/captain-cook- stamp (accessed October 16, 2013) Figure 1.4: Dr William Sutch image from NZHistory online. http://www.nzhistory.net.nz/people/dr-w-b-sutch (accessed February 25, 2014) Figure 1.5: New Zealand Broadcasting Corporation logo. Available from TVNZ
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