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Innovation and Change in Aotearoa New Zealand's Innovation and Change in Aotearoa New Zealand’s Documentary Production Ecology 2010-2013 Anna Gwendoline Jackson Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy under a Jointly-Awarded PhD Program with The University of Melbourne and The University of Auckland. February 2014 School of Culture and Communication, University of Melbourne Department of Film, Television and Media Studies, University of Auckland Produced on archival quality paper ii Abstract This thesis presents a detailed analysis of New Zealand’s documentary production ecology during the period 2010 – 2013, focusing on innovation, change and the function(s) of documentary as a creative and cultural industry. ‘Ecology’ as a term in media and cultural studies scholarship is increasingly employed as a means of extending the scope of critical political economy beyond a critique of power dynamics in contemporary capitalist society to acknowledge the complex and multifaceted nature of relations between producers and audiences and the ways that media are produced, circulated and used. The use of the term ‘ecology’ in this context acknowledges the ways that our systems of communication, like those in nature, are not stable or fixed, but are interconnected, evolving and dynamic. Drawing on interviews, observation, practice-led research and analysis of theatrical and television documentary output, the framework of ecology is used to examine the specific conditions of documentary production in New Zealand as a complex media system in relation to global shifts in media production, distribution and use, and aims to identify factors that support or inhibit innovation in the context of New Zealand’s documentary production ecology. iii Declaration This is to certify that i) the thesis comprises only my original work towards the degree of Doctor of Philosophy except where indicated in the Preface, ii) due acknowledgement has been made in the text to all other material used, iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. iv Acknowledgements I would like to express my special thanks to my supervisors Professor Sean Cubitt and Professor Annie Goldson for their guidance and wisdom. I am also thankful for the additional support provided by Assoc. Professor Robert Hassan at the University of Melbourne and Dr Allan Cameron at the University of Auckland. I would also like to thank staff and fellow students at the University of Melbourne and the University of Auckland and members of the wider academic community who offered their assistance and encouragement in various ways throughout the period of my candidature. This research was made possible by an Australian Postgraduate Award funded by the Australian Federal Government, and the support of the School of Culture and Communication at The University of Melbourne and the Department of Film, Television and Media Studies at The University of Auckland. So many members of the documentary and wider creative community have generously given their time and support to assist me with my research. I wish to particularly acknowledge: Costa Botes, Vincent Burke, Pietra Brettkelly, Sumner Burstyn, Anna Cottrell, Bill Gosden, Anna Guenther, John Harris, Paora Joseph, Alex Lee, Briar March, Graeme Mason, Pamela Meekings-Stewart, Fiona Milburn, Annie Murray, Amy O’Connor, Julia Parnell, Justin Pemberton, Leanne Pooley, Christopher Pryor, Dan Shannan, Miriam Smith, Kathy Wright, Jane Wrightson. My heartfelt thanks goes to the friends who helped me through some very challenging times. There are so many people who have shown me such kindness, caring and patience that I can’t name any of you in case I leave someone out. I am so very grateful to have had you all on my side, cheering me on to the finish line. Above all, I wish to acknowledge my parents, Valerie and David, for their selfless dedication and love, unwaivering faith and endless support. I have learned so much from you both. v Table of Contents Abstract .................................................................................................................... iii Declaration ............................................................................................................... iv Acknowledgements ................................................................................................... v Table of Contents ..................................................................................................... vi Glossary .................................................................................................................... ix CHAPTER ONE ............................................................................................................ 1 Introduction .............................................................................................................. 1 Background to the research ............................................................................................... 1 Research Problem, Scope and Critical Framework .............................................................. 9 Outline of relevant research: ........................................................................................... 23 Original contribution to knowledge ................................................................................. 25 Research design and methods .......................................................................................... 26 Interview participants ...................................................................................................... 28 Interview Methods .......................................................................................................... 33 Outline of the Thesis ........................................................................................................ 35 CHAPTER TWO ......................................................................................................... 38 Literature Review .................................................................................................... 38 Technological Innovation ................................................................................................. 38 Innovation in the Creative and Cultural Industries ........................................................... 39 Ecology ............................................................................................................................ 47 Production studies and media industries ethnography ..................................................... 52 Documentary Theory ....................................................................................................... 54 New Zealand Documentary .............................................................................................. 57 New Zealand television and public service broadcasting .................................................. 64 International trends/issues in documentary production .................................................. 67 CHAPTER THREE ....................................................................................................... 69 New Zealand Television Documentary in Context .................................................... 69 New Zealand television documentary: the historical context ........................................... 69 Digital Television ............................................................................................................. 80 The end of the Charter and a return to commercialism .................................................... 82 2010 – 2013: post-broadcasting, post-public service? ...................................................... 82 Overview of the Television Broadcast Ecology 2010-2013 ................................................ 91 Funders ........................................................................................................................... 92 Tier 1 (TV One, TV2 and TV) ............................................................................................. 94 Tier 3 broadcasters .......................................................................................................... 98 Pay TV (Sky) ..................................................................................................................... 99 vi Producers ...................................................................................................................... 100 Conclusion ..................................................................................................................... 101 CHAPTER FOUR ...................................................................................................... 103 An Analysis of Television Content Funded by NZ On Air Under the Category of ‘Documentary’, 2010 - 2012 ................................................................................... 103 Perspectives on the documentary label ......................................................................... 105 Analysis of NZ On Air funded documentary output 2010-2012 ....................................... 111 Overview of output by Broadcaster ............................................................................... 116 Overview of outputs by category ................................................................................... 123 Recurrently funded series .............................................................................................. 130 Other funding categories
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