Wairoa Māori Film Festival 2015: Programme
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Making Our Own—Two Ethnographies of the Vernacular in New Zealand Music: Tramping Club Singsongs and the Māori Guitar Strumming Style
Making our own—two ethnographies of the vernacular in New Zealand music: tramping club singsongs and the Māori guitar strumming style by Michael Brown A thesis submitted to Victoria University of Wellington/Massey University in fulfilment of the requirements for the degree of Doctor of Philosophy in Music New Zealand School of Music 2012 ii Abstract This work presents two ethnographies of the vernacular in New Zealand music. The ethnographies are centred on the Wellington region, and deal respectively with tramping club singsongs and the Māori guitar strumming style. As the first studies to be made of these topics, they support an overall argument outlined in the Introduction, that the concept of ―vernacular‖ is a valuable way of identifying and understanding some significant musical phenomena hitherto neglected in New Zealand music studies. ―Vernacular‖ is conceptualised as an informal, homemade approach that enables people to customise music-making, just as language is casually manipulated in vernacular speech. The different theories and applications which contribute to this perspective, taken from music studies and other disciplines, are examined in Chapter 1. A review of relevant New Zealand music literature, along with a methodological overview of the ethnographies is presented in Chapter 2. Each study is based upon different mixtures of techniques, including participant-observer fieldwork, oral history, interviews, and archival research. They can be summarised as follows: Tramping club singsongs: a medium of informal self-entertainment among New Zealand wilderness recreationists in the mid-twentieth century. The ethnography focuses on two clubs in the Wellington region, the Tararua Tramping Club and the Victoria University College Tramping Club, during the 1940s-1960s period, when changing social mores, tramping‘s camaraderie and individualism, and the clubs‘ different approaches, gave their singsongs a distinctive character. -
Kā Pākihi Kā Whakatekateka a Waitaha the Plains Where the Waitaha Strutted Proudly
Image 1: Rākaihautū. Brian Flintoof’s work depicts Rākaihautū digging out the mountain lakes as he travels through the Southern Alps. Private collection. Mixed media by Brian Flintoff. KĀ PĀKIHI KĀ WHAKATEKATEKA A WAITAHA THE PLAINS WHERE THE WAITAHA STRUTTED PROUDLY Titiro ki muri, kia whakatika ā mua, look to the past to proceed to the future: Why tīpuna used rakimārie peaceful living to claim and maintain ahi kā burning fires of occupation during early colonial contact and does it hold validity and relevance for whānau family today? Nā Kelli Te Maihāroa Waitaha Tūturu, Ngāti Rārua Ātiawa A thesis submitted for the degree of Doctor of Philosophy at the University of Otago Te Whare Wānaka o Otāgo Dunedin, Aotearoa New Zealand September 2019 KARAKIA Image 3: Karakia. Rākaihautū. Brian Flintoof’s work depicts Rākaihautū digging out the mountain lakes as he travels through the Southern Alps. Private collection. Mixed media by Brian Flintoff. Wāhia te awa e uta ki tua Puta i waho ko te pākiaka o te rākau O māere nuku, o māere raki O māere i te maro-whenua I ruka tāne, i raro tāne Pākupāku tāne, rakaihi tāne Nohaka nō Te Ariki Hoatu au, e tāne ki uta! This thesis begins with the ancient karakia incantation recited by Rākaihutū, the famous Waitaha tupuna who cleared the passage ways through the great Pacific oceans to Aotearoa (Beattie, 1918, p. 146) 2 KĀ PĀKITUA Kā Pākitua is the name on the prow of the Te Uruao Kapuaraki waka canoe and also the toki adze that Rākaihautū raised as he chanted the karakia above. -
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. -
Annual Report 2009-2010 PDF 7.6 MB
Report NZ On Air Annual Report for the year ended 30 June 2010 Report 2010 Table of contents He Rarangi Upoko Part 1 Our year No Tenei Tau 2 Highlights Nga Taumata 2 Who we are Ko Matou Noa Enei 4 Chair’s introduction He Kupu Whakataki na te Rangatira 5 Key achievements Nga Tino Hua 6 Television investments: Te Pouaka Whakaata 6 $81 million Innovation 6 Diversity 6 Value for money 8 Radio investments: Te Reo Irirangi 10 $32.8 million Innovation 10 Diversity 10 Value for money 10 Community broadcasting investments: Mahi Whakapaoho a-Iwi 11 $4.3 million Innovation 11 Diversity 11 Value for money 11 Music investments: Te Reo Waiata o Aotearoa 12 $5.5 million Innovation 13 Diversity 14 Value for money 15 Maori broadcasting investments: Mahi Whakapaoho Maori 16 $6.1 million Diversity 16 Digital and archiving investments: Mahi Ipurangi, Mahi Puranga 17 $3.6 million Innovation 17 Value for money 17 Research and consultation Mahi Rangahau 18 Operations Nga Tikanga Whakahaere 19 Governance 19 Management 19 Organisational health and capability 19 Good employer policies 19 Key financial and non financial measures and standards 21 Part 2: Accountability statements He Tauaki Whakahirahira Statement of responsibility 22 Audit report 23 Statement of comprehensive income 24 Statement of financial position 25 Statement of changes in equity 26 Statement of cash flows 27 Notes to the financial statements 28 Statement of service performance 43 Appendices 50 Directory Hei Taki Noa 60 Printed in New Zealand on sustainable paper from Well Managed Forests 1 NZ On Air Annual Report For the year ended 30 June 2010 Part 1 “Lively debate around broadcasting issues continued this year as television in New Zealand marked its 50th birthday and NZ On Air its 21st. -
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. -
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. -
Fiona Hall Medicine Bundle for the Non-Born Child (Detail) 1994
Bulletin Summer Christchurch Art Gallery December 2008 — B.155 Te Puna o Waiwhetu February 2009 1 Bulletin B.155 Summer Christchurch Art Gallery December 2008 — Te Puna o Waiwhetu February 2009 Two cyclists use the custom-designed bikes that form Anne Veronica Janssens's Les Australoïdes installation in the Gallery foyer. Front and back cover images: Fiona Hall Medicine bundle for the non-born child (detail) 1994. Aluminium, rubber, plastic layette comprising matinee jacket. Collection of Queensland Art Gallery, purchased 2000. Queensland Art Gallery Foundation Grant. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney 2 3 Contents B.155 4 DIRECTOR'S FOREWORD A few words from director Jenny Harper 5 EXHIBITIONS PROGRAMME What's on at the Gallery this season 6 FIONA HALL: FORCE FIELD Paula Savage on one of Australia's finest contemporary artists 15 LOOKING INTO FORCE FIELD Two personal responses 16 SHOWCASE Recent gifts to the Gallery's collection 18 WUNDERBOX A collection of collections from the collection 26 THE ART OF COLLECTING Four artists show us their personal collections 30 LET IT BE NOW Six emerging Canterbury artists 34 WHITE ON WHITE Exploring the myriad possibilities of white 42 OUTER SPACES Richard Killeen takes his art out to the street 44 LONG WIRES IN DARK An interview with MUSEUMS Alastair Galbraith 46 ARE YOU TALKING TO ME? Jim and Mary Barr on collecting 47 PAGEWORK #1 Eddie Clemens 50 TE HURINGA / Pākehā colonisation TURNING POINTS and Māori empowerment 56 SCAPE 2008 Looking back at some of the Gallery projects 58 MY FAVOURITE Film-maker Gaylene Preston makes her choice 60 TIME-LAPSE Installing United We Fall 62 NOTEWORTHY News bites from around the Gallery 64 STAFF PROFILE Martin Young 64 COMING SOON Previewing Rita Angus: Life & Vision and Miles: a life in architecture Please note: The opinions put forward in this magazine are not necessarily those of Christchurch Art Gallery Te Puna o Waiwhetu. -
02 Whole.Pdf
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Inherited Body A thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing at Massey University, Manawatū, New Zealand. Rebecca Joy Styles 2017 Abstract Narrative ethics is a useful tool for approaching New Zealand historical fiction about family history because it looks to the risks and losses of appropriating family for the author, their subjects, and readers. In the following critical analysis I discuss three recent New Zealand novels based on family historical narratives, each of which depict characters attempting to write their own stories within power structures that threaten to silence them: Alison Wong’s As The Earth Turns Silver (2009), Paula Morris’s Rangatira (2011), and Kelly Ana Morey’s Bloom (2003). For a writer a narrative ethics analysis ensures they acknowledge the ethical implications of their work, not just for their own family, but for collective understanding. My novel Inherited Body fictionalises an incident from my family’s history about mental health and sits alongside a contemporary narrative that seeks to understand the possible causes of a psychotic break. A narrative ethics analysis has highlighted my dual role as reader/critic and writer. Wayne C. Booth’s discussion of narrative ethics emphasises the connection between writer, character and their readers. Adam Zachary Newton expands on this transactive connection and shows the ethical consequences of narrating story and fictionalising people, and the reciprocal claims connecting teller, listener, witness and reader in that process. -
Albania's 'Sworn Virgins'
THE LINGUISTIC EXPRESSION OF GENDER IDENTITY: ALBANIA’S ‘SWORN VIRGINS’ CARLY DICKERSON A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN LINGUISTICS YORK UNIVERSITY TORONTO, ONTARIO August 2015 © Carly Dickerson, 2015 Abstract This paper studies the linguistic tools employed in the construction of masculine identities by burrneshat (‘sworn virgins’) in northern Albania: biological females who have become ‘social men’. Unlike other documented ‘third genders’ (Kulick 1999), burrneshat are not motivated by considerations of personal identity or sexual desire, but rather by the need to fulfill patriarchal roles within a traditional social code that views women as property. Burrneshat are thus seen as honourable and self-sacrificing, are accepted as men in their community, and are treated accordingly, except that they do not marry or engage in sexual relationships. Given these unique circumstances, how do the burrneshat construct and express their identity linguistically, and how do others within the community engage with this identity? Analysis of the choices of grammatical gender in the speech of burrneshat and others in their communities indicates both inter- and intra-speaker variation that is linked to gendered ideologies. ii Table of Contents Abstract ………………………………………………………………………………………….. ii Table of Contents ……………………………………………………………………………….. iii List of Tables …………………………………………………………………………..……… viii List of Figures ……………………………………………………………………………………ix Chapter One – Introduction ……………………………………………………………………... 1 Chapter Two – Albanian People and Language ………………………………………………… 6 2.0 Introduction ………………………………………………………………………………6 2.1 History of Albania ………………………………………………………………………..6 2.1.1 Geographical Location ……………………………………………………………..6 2.1.2 Illyrian Roots ……………………………………………………………………….7 2.1.3 A History of Occupations …………………………………………………………. 8 2.1.4 Northern Albania …………………………………………………………………. -
Nz Film Productions, 1990-2016
NZ FILM PRODUCTIONS, 1990-2016 PRODUCTION TITLE PRODUCERS SCRIPT DIRECTOR DOP PROD. DESIGNER COSTUME DESIGNER EDITOR SOUND DESIGNER 43,000 FEET * Feature 2012 Amber Easby Matt Harris Campbell Hooper Andrew Stroud Campbell Hooper Bruce Langley Heather Lee 800 WORDS * Teleseries 2015-2016 Chris Bailey James Griffin Mike Smith Fred Renata Gary Mackay Sarah Aldridge Eric De Beus John Holmes Maxine Fleming Pino Amenta Dave Garbett Greg Allison Paul Sutorius Kelly Martin Timothy Balme Michael Hurst Gary Hunt Julie McGauran Kate McDermott Murray Keane Chris Hampson Natalie Medlock Sarah-Kate Lynch 50 WAYS OF SAYING FABULOUS * Michele Fantl Stewart Main Stewart Main Simon Raby Ken Turner Kirsty Cameron Peter Roberts Peter Scholes Feature 2005 6 DAYS * Feauture 2016 Matthew Metcalfe Glenn Standring Toa Fraser Aaron Morton Liz McGregor Dan Kircher 7 DAYS * Teleseries 2009 Jon Bridges Josh Samuels Nigel Carpenter Luke Thompson Jason Pengelly A SONG OF GOOD * Feature 2008 Mark Foster Gregory King Gregory King Virginia Loane Ashley Turner Natalija Kucija Jonathan Venz ABANDONED * Telemovie 2014 Liz DiFiore Stephanie Johnson John Laing Grant McKinnon Roger Guise Jaindra Watson Margot Francis Mark Messenger ABERRATION * Feature 1997 Chris Brown Darrin Oura Tim Boxell Allen Guilford Grant Major Chris Elliott John Gilbert David Donaldson ABIOGENESIS * Feature 2012 Richard Mans Michelle Child AFTER THE WATERFALL * Feature Trevor Haysom Simone Horrocks Simone Horrocks Jac Fitzgerald Andy McLaren Kirsty Cameron Cushia Dillon Dick Reade 2010 ALEX * Feature -
Whale Rider: the Re-Enactment of Myth and the Empowerment of Women Kevin V
Journal of Religion & Film Volume 16 Article 9 Issue 2 October 2012 10-1-2012 Whale Rider: The Re-enactment of Myth and the Empowerment of Women Kevin V. Dodd Watkins College of Art, Design, and Film, [email protected] Recommended Citation Dodd, Kevin V. (2012) "Whale Rider: The Re-enactment of Myth and the Empowerment of Women," Journal of Religion & Film: Vol. 16 : Iss. 2 , Article 9. Available at: https://digitalcommons.unomaha.edu/jrf/vol16/iss2/9 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Whale Rider: The Re-enactment of Myth and the Empowerment of Women Abstract Whale Rider represents a particular type of mythic film that includes within it references to an ancient sacred story and is itself a contemporary recapitulation of it. The movie also belongs to a further subcategory of mythic cinema, using the double citation of the myth—in its original form and its re-enactment—to critique the subordinate position of women to men in the narrated world. To do this, the myth is extended beyond its traditional scope and context. After looking at how the movie embeds the story and recapitulates it, this paper examines the film’s reception. To consider the variety of positions taken by critics, it then analyses the traditional myth as well as how the book first worked with it. The onclusionc is, in distinction to the book, that the film drives a wedge between the myth’s original sacred function to provide meaning in the world for the Maori people and its extended intention to empower women, favoring the latter at the former’s expense. -
1 Cultural Translation and Filmmaking in the Pacficic
CULTURAL TRANSLATION AND FILMMAKING IN THE PACFICIC Vilsoni Hereniko Introduction When my feature film The Land Has Eyes screened at the Moscow International Film Festival in 2004, my producer/wife and I, the director and writer, were assigned a Russian translator. Since we don’t speak Russian, we were grateful for this service. However, during the introduction preceding the film screening, some members of the audience reacted in rather surprising ways to the translator’s version of what we had said, making us wonder about the accuracy of the translation. And then the film screened. No one laughed or made any audible sounds throughout the screening of our film. Everyone was so quiet you could hear yourself breathe. This was strange because we had just returned from screening the film eight times around Rotuma where the film was shot. There, the reaction was one of hilarity, with some audience members shouting mocking comments at the actors on screen, cheering when an old lady riding a scooter chased the villain, or slapping each other on the back as they burst into laughter when someone said or did something that they recognized as so typically Rotuman. Audience members teased the actors who sat among them, ridiculing them when they made an appearance and basically making quite a bit of noise. This was the first feature film 1 ever made on Rotuma, and seeing themselves on screen appeared to be a source of amusement, if not excitement. At several screenings, the chiefs had to order the audience to shut up so that others could hear the dialogue and follow the film’s plot.