DOCSLIB.ORG

Phd Thesis: Ramsden 2003

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Phd Thesis: Ramsden 2003 DEVELOPMENT: Opening space for New Zealand women’s participation in scriptwriting for feature films? by Marian Evans A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Creative Writing Victoria University of Wellington 2010 Abstract This thesis explores whether an analytical practice, combining creative writing with activism and based in academia, can help open space for more women scriptwriters within New Zealand feature filmmaking. It links autoethnography with activist and experience-based methodologies within a creative writing framework that includes a memoir, an essay, a report, diaries and emails, an essay screenplay and weblogging, to present multiple views of an investigation into state investment in women’s feature filmmaking and the researcher’s own experience as an activist researcher and apprentice scriptwriter. It concludes that, within an analytical creative writing practice, autoethnography’s accommodation of a single researcher participant’s shifting roles may help to open space for women scriptwriters to contribute to New Zealand feature films. 2 Acknowledgements I thank all those, named and anonymous, who generated the experience and writing that follows, including but not only members of the communities formally acknowledged.1 I thank Professor Brad Jackson for his early support and here, again, thank the family of Di Oliver-Zahl and the Victoria Foundation for my Women in Leadership Scholarship; my original supervisor at the Victoria Management School (VMS) Associate Professor Deborah Jones, whose continuing engagement I appreciate; and my Gender & Women’s Studies co-supervisor Dr Lesley Hall for her rigour, generosity and patience. At the International Institute of Modern Letters (IIML) I thank my supervisor, Michael Hirschfeld Director of Scriptwriting Ken Duncum, and my administrative supervisor, IIML director Professor Bill Manhire. I’ve experienced IIML’s graceful, generous, culture as being both rigorous and tender, characterised by hard work, open-ended questions, close listening and careful responses; I’ve learned so much as Ken’s apprentice, and through participation in the PhD group Bill convenes. I also thank the women who are at IIML every day, for their help, friendliness and laughter—Katie Hardwick- Smith, Clare Moleta and Chris Price. I thank Linda Voorhees for her teaching about taglines and master scenes during her visit to IIML, for her mentorship of Red Dinghy and for her analysis of the Development script. I thank ‘Number 7’, a representative from an invisible generation of New Zealand women feature filmmakers, who generously talked at length with me, on tape, before I started the research. Her voice and her grief accompanied my work. And, finally, I thank the academic who encouraged me to think of a PhD project as just ‘an exercise’ rather than a life’s work. 1 See below 88ff, 105ff, 111. 3 Research for this thesis has been published in other forms, in Junctures;2 in TAKE: The SDGNZ Film and Television Quarterly;3 and in n. paradoxa;4 on the Women in Film & Television NSW website;5 and in my weblog, Wellywood Woman.6 Chapter 4 has been widely circulated and is available on the IIML website.7 At the end of July 2009, drafts of Chapters 4 to 8 were submitted to the Minister for Culture & Heritage’s Review of the Film Commission Act. 2 Evans 2008[b]. 3 Evans 2009[b]. 4 Evans 2009[c]. 5 Evans 2008[a]. 6 Evans 2009[d]. 7 Evans 2008[c]. 4 Abbreviations Each term is written in full when it first appears in the text. ATL Alexander Turnbull Library BEV Birds Eye View Film Festival CAP Creative Analytical Practices CNZ Creative NZ Arts Council of New Zealand Toi Aotearoa Film Fund New Zealand Film Production Fund Trust FWI First Writers Initiative IFF Independent Filmmakers Fund IIML International Institute of Modern Letters, Victoria University of Wellington Kidsarus 2 Inc Kidsarus NZFC New Zealand Film Commission Te Tumu Whakaata Taonga NZOA New Zealand On Air NZWG New Zealand Writers Guild QEII Queen Elizabeth II Arts Council of New Zealand SFF Short Film Fund SIPF Screen Innovation Production Fund SPADA Screen Production and Development Association Waka Papaho SPIF Screen Production Incentive Fund Te Papa Museum of New Zealand Te Papa Tongarewa VMS Victoria Management School 5 Weltec Wellington Institute of Technology WIFT Women in Film & Television Women’s Gallery Inc Women’s Gallery Notes I use an individual’s (not author) full name at first reference and first name in subsequent references. In footnotes, a reference includes a date only the first time a publication is mentioned, except where it is necessary to distinguish between multiple works by a single author. Chapter 6 has its own internal page numbering. The Film References include only films completed before October 2009. 6 Table of Contents Table of Figures ............................................................................... 9 1 Introduction .............................................................................. 10 Transition 1: To Methodology ........................................................ 17 2 Memoir: A Methodology-from-experience ................................ 22 Each thing is important ............................................................................................ 22 A Season’s Diaries ................................................................................................... 30 Difference .................................................................................................................. 35 Separatism & ‘writing back while also writing to ourselves’ ................................... 36 The loss of separatism & my ‘home culture’? ......................................................... 40 Who benefits? & how to harness benefits to open space for stories ....................... 45 Welcoming the unexpected ...................................................................................... 51 Moving forward; & the Karpman and Choy triangles ............................................. 53 Getting Free .............................................................................................................. 55 3 Essay: A Methodology for Academia ......................................... 60 Montage and an autoethnography framework ....................................................... 66 Transition 2: To Report ............................................................... 102 4 PhD Report For People Who’ve Helped Me ............................. 105 Introduction ............................................................................................................ 105 Part 1: Statistics ...................................................................................................... 108 Part 2: Discussion ................................................................................................... 120 7 Transition 3: To Diary & Emails .................................................. 161 Chapter 5 Diary & Emails ............................................................ 166 Counselling ............................................................................................................. 166 Ruth Harley’s departure ......................................................................................... 167 The NZFC development statistics for the year ending 30 June 2008 .................. 182 FWI again ................................................................................................................ 191 More deferment of hope? ....................................................................................... 196 Transition 4: To Screenplay ........................................................ 204 Chapter 6 Development ............................................................... 209 Transition 5: To Weblog & Diary ................................................ 210 Chapter 7 Development’s development: Weblog & Diary .......... 214 Chapter 8 Conclusions................................................................. 248 Appendix—Ethics documents ..................................................... 255 Bibliography ................................................................................ 262 Film References ........................................................................... 285 8 Table of Figures Figure 1 Allie Eagle May 2003 Mt Taranaki After Joanna’s Funeral ........... 24 Figure 2 Joanna Paul [1979] letter .................................................................. 25 Figure 3 Bill MacKay [1970s Self Portrait As Wine Steward] ....................... 26 Figure 4 Bill MacKay [1977-79] Poster Shop 2 oil on canvas 140x140cm (Note the ‘little leather skirt’ right foreground.) ....................................................... 30 Figure 5 Bill MacKay [1977-79] Poster Shop 1 oil on canvas 126x169cm ...... 30 Figure 6 Women’s Gallery collective, 26 Harris Street Wellington 1981. ....... 41 Figure 7 Women’s Gallery collective, 26 Harris Street Wellington January 1980. ................................................................................................................ 48 Figure 8 Percentages of NZFC feature development applications from and approvals for projects with women writers and directors 2005-2008, by decisionmaker. ............................................................................................... 183 Figure 9 Off The Beaten Path: Violence, Women and Art. ..........................
Load more

Recommended publications
  • Grade 5 Workbook © Copyright Oxford University Press Contents
    Janet Hardy-Gould English Plus Grade 5 Workbook © Copyright Oxford University Press Contents page Unit 1 Home and away 4 Unit 2 Sports 10 Unit 3 Fantasy world 18 Unit 4 Living things 26 Unit 5 Values 34 Unit 6 World of work 42 Unit 7 Holidays 50 Unit 8 Creativity 58 Unit 9 Reading for pleasure 60 Language focus reference and practice 62 Pronunciation bank 80 Wordlist 83 Arts and STEM 94 © Copyright Oxford University Press 1 Home and away VOCABULARY Familiar words 1 Find nine more words. 3 Complete the dialogue with the words BICYCLEAG in the box. OKPHONEC L a Bye English later OPGQVUWOT poster thanks this yes KOTAB L EME ZSLUESHPA Anna Hi Jack. How are you? WTMG I R L UC Jack Fine, thanks . CETBONPTH Anna What’s this in 1 ? ARQHRDKEE 2 RVUZBOYRR Jack It’s a . Anna And what’s 3 ? b o o k 1 c r Jack It’s 4 pencil. 2 p s e 3 c mp e Anna Oh, 5 . Thanks. 4 t ch 5 b c l Jack See you 6 . 6 p n 7 t bl Anna 7 ! 8 gi l 9 b y 2 Look at the pictures and complete the 4 Look at the pictures and write sentences with the words in the box. questions and answers. Draw your own picture for numbers 4 and 5. bag bicycle boy car pen pencil 1 2 3 It’s a car . 1 It’s a . 4 5 What’s this in English? It’s a book. 2 It’s a .
    [Show full text]
  • MOANA MAORI VERSION Press Release -FINAL
    ! CASTING BEGINS ON TE REO MAORI LANGUAGE VERSION OF WALT DISNEY ANIMATION STUDIOS’ MOANA Writer Taika Waititi (Thor: Ragnarok, Hunt for the Wilderpeople) and Moana Actress Rachel House (“Gramma Tala”) Made the Announcement on behalf of the Matewa Media Trust, in Collaboration with The Walt Disney Studios Actors Rachel House (“Gramma Tala”), Temuera Morrison (“Chief Tui”), Jemaine Clement (“Tamatoa”) and Oscar Kightley (“Fisherman”) will Reprise their Roles BURBANK, Calif., June 8, 2017 – Casting has begun on the Te Reo Maori language version of Walt Disney Animations Studios Academy Award®-nominated animated feature Moana. The Maori language version is being created by Taika Waititi’s Matewa Media Trust, in collaboration with The Walt Disney Studios. A Casting announcement was posted by Rachel House and Taika Waititi today on www.adrenalingroup.com/ casting. The recording process will take place over the next few months with actors Rachel House (“Gramma Tala”), Temuera Morrison (“Chief Tui”), Jemaine Clement (“Tamatoa”) and Oscar Kightley (“Fisherman”) reprising their roles. Rob Ruha, multi- award-winning composer and solo artist, has joined the team as both Musical Director and as an integral part of the translation/adaptation team. Release details are to be announced, with the goal to have the film shared both in festivals and on DVD for educational purposes in Aotearoa (New Zealand) and beyond. "It's been a big dream of mine to see mainstream movies translated into te reo Maori,” says Waititi. “For indigenous audiences to hear films in their own language is a huge deal, helping to normalize the native voice and give a sense of identification.
    [Show full text]
  • Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna O Waiwhetu 2009
    Bulletin Autumn Christchurch Art Gallery March — May B.156 Te Puna o Waiwhetu 2009 1 BULLETIN EDITOR Bulletin B.156 Autumn DAVID SIMPSON Christchurch Art Gallery March — May Te Puna o Waiwhetu 2009 GALLERY CONTRIBUTORS DIRECTOR: JENNY HARPER CURATORIAL TEAM: KEN HALL, JENNIFER HAY, FELICITY MILBURN, JUSTIN PATON, PETER VANGIONI PUBLIC PROGRAMMES: SARAH AMAZINNIA, LANA COLES PHOTOGRAPHERS: BRENDAN LEE, DAVID WATKINS OTHER CONTRIBUTORS ROBBIE DEANS, MARTIN EDMOND, GARTH GOULD, CHARLES JENCKS, BRIDIE LONIE, RICHARD MCGOWAN, ZINA SWANSON, DAVID TURNER TEL: (+64 3) 941 7300 FAX: (+64 3) 941 7301 EMAIL: [email protected], [email protected] PLEASE SEE THE BACK COVER FOR MORE DETAILS. WE WELCOME YOUR FEEDBACK AND SUGGESTIONS FOR FUTURE ARTICLES. CURRENT SUPPORTERS OF THE GALLERY AALTO COLOUR CHARTWELL TRUST CHRISTCHURCH ART GALLERY TRUST COFFEY PROJECTS CREATIVE NEW ZEALAND ERNST & YOUNG FRIENDS OF CHRISTCHURCH ART GALLERY GABRIELLE TASMAN HOLMES GROUP HOME NEW ZEALAND LUNEYS PHILIP CARTER PYNE GOULD CORPORATION SPECTRUM PRINT STRATEGY DESIGN & ADVERTISING THE PRESS THE WARREN TRUST UNIVERSITY OF CANTERBURY UNIVERSITY OF CANTERBURY FOUNDATION VBASE WARREN AND MAHONEY Visitors to the Gallery in front of Fiona Hall’s The Price is Right, installed as part of the exhibition Fiona Hall: Force Field. DESIGN AND PRODUCTION ART DIRECTOR: GUY PASK Front cover image: Rita Angus EDITORIAL DESIGN: ALEC BATHGATE, A Goddess of Mercy (detail) 1945–7. Oil on canvas. Collection CLAYTON DIXON of Christchurch Art Gallery Te PRODUCTION MANAGER:
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Newsletter – 20 April 2012 ISSN: 1178-9441
    INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯utahi Tuhi Auaha o te Ao Newsletter – 20 April 2012 ISSN: 1178-9441 This is the 180th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email modernletters. 1. Victoria goes to the Olympics ................................................................................. 1 2. Victoria goes to Leipzig ........................................................................................... 2 3. Write poetry! No, write short stories! No, write for children! ............................ 2 4. Resonance ................................................................................................................. 2 5. We’re probably the last to tell you, but . ........................................................... 3 6. However, we'd like to be the first to tell you about . ............................................ 3 7. The expanding bookshelf......................................................................................... 3 8. Hue & Cry and crowdfunding ................................................................................ 4 9. Congratulations ........................................................................................................ 4 10. Fiction editing mentor programme - call for applications ................................. 4 11. Poems of spirituality: call for submissions .........................................................
    [Show full text]
  • Newsletter – 15 April 2010 ISSN: 1178-9441
    INTERNATIONAL INSTITUTE OF MODERN LETTERS Te P¯utahi Tuhi Auaha o te Ao Newsletter – 15 April 2010 ISSN: 1178-9441 This is the 154th in a series of occasional newsletters from the Victoria University centre of the International Institute of Modern Letters. For more information about any of the items, please email [email protected]. 1. Second trimester writing courses at the IIML ................................................... 2 2. Our first PhD ........................................................................................................ 2 3. Legend of a suicide author to appear in Wellington .......................................... 2 4. The Godfather comes to town .............................................................................. 3 5. From the whiteboard ............................................................................................ 3 6. Glyn Maxwell’s masterclass ................................................................................ 3 7. This and That ........................................................................................................ 3 8. Racing colours ....................................................................................................... 4 9. New Zealand poetry goes Deutsch ...................................................................... 4 10. Phantom poetry ................................................................................................. 5 11. Making something happen ..............................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Staff Publications List
    Staff Publications 1998 Published by the Research Policy Office Victoria University of Wellington PO Box 600 Wellington, New Zealand ISSN 1174-121X CONTENTS FACULTY OF COMMERCE AND ADMINISTRATION 3 Accounting and Commercial Law, School of 3 Business and Public Management, School of 5 Communications and Information Systems Management, School of 11 Economics and Finance, School of 13 FACULTY OF HUMANITIES AND SOCIAL SCIENCES 16 Anthropology 16 Art History 17 Asian Languages 18 Classics 19 Criminology, Institute of 20 Education, School of 22 Institute for Early Childhood Studies 24 English, Film and Theatre, School of 25 European Languages 32 History 33 Linguistics and Applied Language Studies, School of 36 Maori Studies: Te Kawa a Maui, School of 41 Music, School of 41 Nursing and Midwifery 43 Philosophy 45 Political Science and International Relations, School of 46 Sociology and Social policy 47 Women’s Studies 49 FACULTY OF LAW 51 FACULTY OF SCIENCE 54 Architecture, School of 54 Biological Sciences, School of 58 Chemical and Physical Sciences, School of 63 Earth Sciences, School of 65 Mathematical and Computing Sciences, School of 70 Psychology, School of 80 UNIVERSITY INSTITUTES AND CENTRES 82 Centre for Continuing Education/Te Whare Pukenga 82 Health Services Research Centre 83 Institute of Policy Studies 84 University Teaching Development Centre 85 Centre for Strategic Studies 85 Stout Research Centre 86 2 1998 Staff Publications FACULTY OF COMMERCE AND ADMINISTRATION ACCOUNTING AND COMMERCIAL LAW 3. Articles/Chapters/Conference Papers Articles Anderson, Gordon, ‘Interpreting the Employment Contracts Act: Are the Courts Undermining the Act?’, California Western International Law Journal, 28 (1997), pp.
    [Show full text]
  • 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 ………………………………………………………………….
    [Show full text]
  • University of Otago Magazine 44April 2017
    UNIVERSITY OF OTAGO MAGAZINE 44APRIL 2017 INSIDE Alumnus Professor Robert Webster Avian flu, ethics and the future Planning for the ‘Age of Ageing’ Politics and dignity Arts fellowship celebrates 50 years University of Otago Magazine A magazine for alumni and friends of the University of Otago Issue 44 APRIL 2017 ISSN - 1175-8147 Editor Karen Hogg Designer Peter Scott Writers Kevin Clements Kim Connelly Ian Dougherty Laura Hewson Karen Hogg The Amie Richardson Stephen Sowerby Sam Stevens University of Otago Fleur Templeton Kim Thomas Mark Wright Magazine Nigel Zega Photographers Sharron Bennett has its Alan Dove Sheena Haywood Michael Roberts own website Graham Warman Cover Professor Robert Webster Photo: Alan Dove Printing PMP Print Circulation Development and Alumni Relations Office otago.ac.nz/otagomagazine Email [email protected] • To update or change delivery address • To read the Magazine and other alumni communications electronically • To receive just one “household” postal copy of the Magazine Tel 64 3 479 4516 Editorial contact details University of Otago Magazine Marketing and Communications PO Box 56 Dunedin 9054 New Zealand Tel 64 3 479 8679 If you would prefer to read Email [email protected] the magazine online Web otago.ac.nz/otagomagazine and no longer receive a hard copy, Copyright please email You are welcome to reproduce material from the magazine after gaining permission from the editor. All reproduced material must be appropriately acknowledged. [email protected] The University of Otago Magazine is published by the Marketing and Communications Division of the University. The opinions expressed are not necessarily those of the University.
    [Show full text]
  • 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
    [Show full text]
  • The Cultural Traffic of Classic Indonesian Exploitation Cinema
    The Cultural Traffic of Classic Indonesian Exploitation Cinema Ekky Imanjaya Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies December 2016 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 1 Abstract Classic Indonesian exploitation films (originally produced, distributed, and exhibited in the New Order’s Indonesia from 1979 to 1995) are commonly negligible in both national and transnational cinema contexts, in the discourses of film criticism, journalism, and studies. Nonetheless, in the 2000s, there has been a global interest in re-circulating and consuming this kind of films. The films are internationally considered as “cult movies” and celebrated by global fans. This thesis will focus on the cultural traffic of the films, from late 1970s to early 2010s, from Indonesia to other countries. By analyzing the global flows of the films I will argue that despite the marginal status of the films, classic Indonesian exploitation films become the center of a taste battle among a variety of interest groups and agencies. The process will include challenging the official history of Indonesian cinema by investigating the framework of cultural traffic as well as politics of taste, and highlighting the significance of exploitation and B-films, paving the way into some findings that recommend accommodating the movies in serious discourses on cinema, nationally and globally.
    [Show full text]