CREWEDSEPT.2016

Play Nice NZGDC speakers go back to the future

Big Screen Symposium Big themes, big people, big films

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Brett Mills // Ph: +64 29 932 6685 // www.qcam.co.nz // e: [email protected] CREWED

It’s a busy time for the country’s screen industries, or at least for those in the industries who like to get out and about to spend time with friends and colleagues.

Earlier in the month, the Game Developers had their annual conference. In five years, it’s grown from its inaugural one-day event into the largest screen industries conference in NZ. Over 500 ticket-holders took to AUT over a couple of days to make decisions about which sessions of five streams they wanted to attend.

We report on a couple of sessions that, in different ways, provided some

perspective on the industry. SEPT.2016 VOL.01, no. 07

The more modest (and alcohol-fuelled) writers’ awards event, SWANZ, ran last week, closely followed by the Big Screen Symposium over the weekend. Two new awards events run out next month, courtesy of the Cinematographers Society and Nga Aho Whakaari, and looking slightly further ahead, the winners and also-rans from this year’s HP48Hours will be found.

We caught up with a couple of the Big Screen Symposium presenters, whose words of wit and wisdom you can enjoy.

Also, we've pubished our annual tertiary education supplement into this CREWED is the techo-focused The ultimate in premium Leica glass, month's issue. Check out what's on offer for students in 2017 - and feel free to publication from the share it around with anyone you think it might be useful to. publishers of SCREENZ CREWED publishes 10 times the Leica Summilux C prime lenses. In the PDF and issuu editions, the supplement follows on from this month's a year, monthly from February Crewed content. Online, you can find it here. to November. Editor & Publisher: Keith Barclay [email protected] Uniformly made, extremely fast, made to 021 400 102 work wide open, beautiful bokeh, flares that Publisher & Advertising: Kelly Lucas don’t bloom and that great Leica image. [email protected] 021 996 529

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Brett Mills // Ph: +64 29 932 6685 // www.qcam.co.nz // e: [email protected] 3 | CREWED THIS MONTH

Editorial 03 Publisher Info 05 Contributors

Say What? A Long Road: 06 David Coulson 12 The Ballad of Maddog Quinn

Stupid Questions: Making an Christopher Doyle impact: Splendid: 16 on cinematography 24 Ande Schurr 28 Glen Walker

All about conversation: Back to the Future: 32 Tony Forster 38 NZGDC16 speakers Noah Falstein and Ken Wong

4 | CREWED CONTRIBUTORS

Glen Walker

Shelving his career in libraries, Glen is now working at screenwriting and enjoying meeting people working in New Zealand’s creative sectors. [email protected]

Ande Schurr

Ande has been location sound recording for ten years. He’s worked on 15 feature films including Taika Waititi’sHunt For The Wilderpeople and many TV series including The Moe Show. He is passionate about helping people grow in their business, personal development and he writes articles for freelancers. www.schurrsound.com

Tony Forster

Tony has worked in theatre and screen production for some decades as a director, first assistant director, script consultant, actor, tutor and writer/editor. He recently created and directed his first feature-length documentary, An Accidental Berliner.

CREW Experienced and highly regarded DoPs, camera operators and sound recordists specialising in broadcast and commercial production.

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Give us a call for quotes or enquiries Auckland 09 373 4330 Wellington 04 499 9225 Say What? DAVID COULSON

David Coulson

Editor David Coulson began his career at Avalon working with Caro in Canada on the Netflix TV in the 1970s. He won the Best Editing gong at the drama Anne. NZ Film Awards for Illustrious Energy (1988), The Footstep Man (1992) and Broken English (1996) Take a stroll down Memory Lane. Where did and has edited three shorts which were selected you begin your career? for Cannes Competition: Alison Maclean's Kitchen After leaving Canterbury University I started at Sink, Dorthe Scheffman's The Beach, and Zia Television One at the Avalon Television Centre Mandviwalla's Night Shift. in 1977, when it was the hub for TV production in New Zealand. The whole place was purpose- A regular collaborator with Los Angeles-based built. I remember a corridor that had 20 or director Niki Caro, he's recently completed work more edit suites coming off it – and all of them on Caro's The Zookeeper's Wife, featuring Jessica had editors working in them. The place was Chastain, Daniel Brühl and Johan Heldenbergh. just buzzing. You really felt something was Coulson visited Auckland in August and is now happening in that building.

6 | CREWED Around 1979 I moved up to Auckland to join And what happened in the ‘90s? TV2’s drama department, but after a while I More of the same really, though it was during this decided to get out. Another editor, Alf West and period that I also started editing commercials, I imported a Steenbeck machine from Australia and I was fortunate to work with many of New and we set up shop just off Queen Street, Zealand’s best commercials directors at the picking up independent projects, overflow work time like Gregor Nicholas, Kevin Denholm, Chris from TVNZ and some overseas productions Dudman, Lee Tamahori, Josh Frizzell – those visiting here. kinds of people. I’m a great believer in the cross- pollination of editorial skills and techniques In 1981 I was asked to view some freshly-shot between all the different story forms - be they film for a visiting UK news crew before they had features, documentaries, shorts, dramas or to get it away to London. It turned out to be commercials. I think we are always trying to tell a footage from Gisborne of the protests at the first story one way or another. Test on the Springboks tour. We'd recently seen the news footage from the UK of the Brixton How did the relationship with Niki Caro begin, riots and I thought, 'Wow, the same thing's and what's kept it going? happening here?' We first met working on commercials, and quickly found that we had a good collaborative Through the 1980’s I assisted on some overseas relationship. This was tested under fire when we feature productions which meant work in the made Whale Rider, where we had a great time US, Australia and England whilst editing features, and as a huge bonus, the film turned out really dramas and documentaries here in New Zealand. well!

Whale Rider

CREWED | 7 Niki has a very open, intelligent, emotional and organic approach to the construction of what is a creative aesthetic. Over the years our relationship very successful scene. has grown. As it turned out, those commercials were good training for working with studios, What did you find different when you started which is where we've progressed to. working overseas? The scale is one of the main differences when Describe a little about your process you work for American studios. It's not the On any new project I spend the first two or budgets per se, though they are different, but three weeks viewing and assembling material what those budgets mean. More money means basically looking for the DNA of that particular more everything – more crew, more equipment, film and what makes it special, different. Once more trucks and, of course, more at stake. you've found that, it gives you a blueprint for the Editorially, since working on my first US film thousands of decisions that follow. North Country, this has meant my standard crew is now an assistant, a second assistant and a PA. Sometimes Niki doesn't know exactly how a Typically this means we’re now occupying more scene will end up looking. Sometimes I don't space and using more equipment than I ever did know how it will work out either, but in those in New Zealand. instances, Niki shoots coverage that allows a lot of possibilities. There's a scene in McFarland USA I remember when we did North Country we worked when the boys are training, running up and down in Minnesota and New Mexico on the shoot, and mounds of almond husks. Niki shot around two then we came back to New Zealand to do the hours of coverage for that. This enabled a very Director's Cut. We returned to Los Angeles not really

McFarland USA

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• Single Super 35mm MOS Sensor • PL Mount • 14+ Stops of Latitude • 4K @ 120fps • Dual Native iso800 & iso5000 knowing what to expect when we showed it to of Green Gables). I'll join her there in September Warners, but I guess we figured maybe half a dozen for three months or so. key people would be in the room. I’m very excited about The Zookeeper's Wife which Anyway, about 50 people from a multitude of is all put to bed now. It currently has a release date departments arrived. That made me realize we of 31 March next year, but I have discovered that in were now working at a different level. But I have the US, release and distribution is very much a live to say, the feedback was great. We were given organic environment. Dates get changed. notes but told to use the ones we wanted and to ignore the rest. When we were moving towards the release of McFarland USA, it was slated for a (US) holiday What are you working on now? weekend in late 2014 but then a blockbuster - I'm back here in Auckland to see family and maybe one of the Hunger Games titles - got dated friends, sort out the house and run a workshop for the same weekend. for DEGNZ. When we went to the US three years ago we didn't know how long we'd be there. I'm Those types of pictures can suck all the air out of naturally cautious so I still treat it like I'm staying the box office for a week or two so McFarland USA in LA rather than living there. got pushed back into early 2015. It did well, took US$44 million. I was disappointed that the studio Niki's in Canada at the moment prepping a TV decided against giving it a theatrical release in series for Netflix, Anne (based on the Canadian New Zealand for obvious reasons, but that’s the children's classic, Lucy Maud Montgomery's Anne thing – when it comes down to it, it's just business.

North Country

10 | CREWED 24TH ANNUAL SPADA CONFERENCE 24/25 NOVEMBER MAC FUNCTION CENTRE WELLINGTON EARLY BIRD REGISTRATIONS CLOSE 30 SEPTEMBER REGISTER NOW! A Long Road THE BALLAD OF MADDOG QUINN Photo: Tammy Williams Tammy Photo:

In late March of 2013 the NZFC announced Blue Harvest cited shorts including Alive in Joberg the films to be made under the 2013 round of by Neill Blomcamp (District 9) and Panic Attack Premiere Shorts. Among those titles was Matt by Fede Alvarez (who was, at the time, in NZ Inns’ The Ballad of Maddog Quinn, chosen by EP directing the remake of Evil Dead) as the sort of pod Blue Harvest (Steve Barr, Daniel Story and projects they would like to see put forward. the late Paul Swadel). Long before Blue Harvest made its call for Unlike many of the EP pods over the years, Blue submissions, Quinn writer and director Matt Inns Harvest specifically sought genre proposals had been developing his idea, already working rather than arthouse. Blue Harvest’s pitch to steadily toward making the film. In 2011 he shot filmmakers said, “We are searching for highly pre-test footage with DoP Ashley McKenzie to skilled filmmaker teams to make short films that help pitch the idea to prospective funders. demonstrate mainstream commercial tastes. Visceral films that will make an audience laugh or In an interview with the Southland Times in cry or jump in their seats.” early 2012 Inns described the project as “a cross

12 | CREWED between Mad Max and The Good, The Bad and the Dodds as producer, was joined on the Blue Ugly”. The proposed short had received support Harvest shortlist by Luke Anastassiou-Hedley’s from Film Otago Southland and $15,000 from the Sunny, Paul Campion’s Vampire Domestication, Invercargill Licensing Trust. Ferand Peek’s Mercenary, and Cradle, written by Hugh Calveley, produced by Tom Hern & Luke A graduate of the Southern Institute of Robinson but at that time without a director Technology who’d interned on Robert Sarkies’ attached. Southland-shot Two Little Boys, Inns was committed to keeping the project close to home Five months later, when Blue Harvest’s Premiere and shooting it in the South Island. Short selections were announced in March 2013, Damon Duncan was on board to direct Cradle, The landscape was perfect. When Inns was which was chosen alongside Quinn for support. shooting his pre-tests for Quinn, Mike Wallis was shooting his independent Western Good for Cradle had its premiere as a finalist in this year’s Nothing in the South Island. Around the time Inns NZ’s Best line-up at the recent NZIFF and has just shot Quinn John Maclean’s Sundance-premiered been named a finalist at Show Me Shorts. Slow West, starring Michael Fassbender, was also shooting around Canterbury. Blue Harvest said of Inns’ short, “Maddog Quinn tells a clever and fast-paced story in a dystopian Blue Harvest received a good number of ‘salvagepunk’ story world. Matt Inns has the submissions for its Premiere Shorts call and, in commitment, vision and skills to become late November 2012, the pod announced the a successful feature writer/director in the five titles it had shortlisted. Quinn, with Melissa international market. He is ably supported by Photo: Tammy Williams Tammy Photo:

CREWED | 13 producer Melissa Dodds, who is coming off the low- budget production experience of Existence and has several shorts and features in active development.”

Quinn’s producer Melissa Dodds was also the producer for Louise Leitch’s Dancers, written by Casey Whelan, which was selected as a Premiere Short by Robin Scholes’ pod.

Inns shot The Ballad of Maddog Quinn in the first half of 2014. The images posted on Facebook from the shoot looked great.

However, what should have been a strong step forward in the career of a young filmmaker has become an ongoing trail of paperwork, of back NEW ZEALAND and forth suggestions, offers, threats and an absence of progress. The production had gone quite some way over budget, and attempts to CINEMATOGRAPHERSNZCSNEW AWARDS ZEALAND FOR solve that problem continue to prevent The Ballad of Maddog Quinn from being completed.

Photo: Tammy Williams Tammy Photo: CINEMATOGRAPHY To be continued... CINEMATOGRAPHERSSOCIETY AWARDS SOCIETY AWARDS

15 OCTOBER 2016 GRAND TEAROOM, HERITAGE HOTEL, AUCKLAND Photo: Tammy Williams Tammy Photo:

14 | CREWED NEW ZEALAND CINEMATOGRAPHERSNZCSNEW AWARDS ZEALAND FOR CINEMATOGRAPHERSCINEMATOGRAPHYSOCIETY AWARDS SOCIETY AWARDS

15 OCTOBER 2016 GRAND TEAROOM, HERITAGE HOTEL, AUCKLAND Stupid Questions CHRISTOPHER DOYLE ON CINEMATOGRAPHY

Hero

Cinematographer Christopher Doyle presented two BSS sessions and finished, four hours later, in back-to-back sessions at this year’s Big Screen a bar. Symposium: Three Elements Make A Film and I Didn’t Plan to Come Here (And I Ain’t Leaving). Just as he was leaving Hong Kong to travel to Auckland for the BSS, the territory named its The title of the second session comes from a submission for this year’s Foreign Language Willie Nelson song about being drunk in a bar, Oscar: Philip Yung’s Port of Call, for which Doyle subject matter Doyle is famously familiar with. won the Cinematography gong at this year’s Our conversation started before the first of his Hong Kong Film Awards.

16 | CREWED Doyle was also nominated for the film at “They ask stupid questions,” Doyle said, “and this year’s Asian Film Awards, missing out to stupid questions are the most important. Can we Taiwanese cinematographer Mark Lee Ping Bin do it like this? Why not? for Hou Hsiang-Hsien’s The Assassin, which has been busy vacuuming up gongs at many Asian “When we get older and have experience we think festivals and awards events following its award- we know how to do everything and stop trying.” winning Cannes premiere last year. Introducing Doyle in Auckland, Vincent Ward said, Doyle himself has a win at Cannes, the technical “Talent hits a target others can’t hit. Genius hits a award for Wong Kar-wai’s In the Mood for Love in target others can’t see.” 2000, which he shared with Lee and designer and editor William Chang Suk Ping. “I used to think I was the Mick Jagger of cinematography,” Doyle said, “but it turns out I’m After leaving his native Australia at age 18 Doyle the Keith Richards.” travelled, mostly in Asia, before ending up in Hong Kong. During a career in film that didn’t begin until The hard-working, hard-living image has served he was 32 but has now lasted half his life, Doyle Doyle well. He’s happy to play the rock star, has racked up a lot of awards and worked with to offer outrageous and un-PC opinions. He’s a lot of directors. He enjoys working with young learned several languages, claiming, “The only teams because they don’t know what they’re place to learn a language is in bed, because after doing and still have the naïveté to experiment and the oohs and aahs you have to be able to say how try to do things in ways that challenge Doyle. was it for you.”

In the mood for love

17 | CREWED He’s equally keen to promote humility and you’re using. That’s the easy part, you can learn respect as the cornerstones of his successful that stuff in weeks.” working relationships. He also said, “Not everything I tell you today is Ward described him as an anomaly, conceived in true.” the back of a Holden at Bondi beach, more drunk than alive and a vessel for his work. “No!” Doyle Truth & Lies interrupted. “I’m a vessel for a beer.” The clip Doyle selected for the opening of one presentation played against U2’s I Still Haven’t Throughout both his BSS presentations Doyle Found What I’m Looking For, which offered some circled around the issues of trust, humility and clue about what keeps him going. He said that complicity, the importance of relationships, offering whenever he’s asked what his best or favourite a lot of clips, interrupting himself, Ward and others film is, he always answers, “My next one. It has to explore tangential ideas but returning time and to be. You have to hold on that innocence and again to the importance of trust. naïveté and hope that you can still get better.”

“That’s the point of doing this,” he said. “To Lest anyone be tempted to read too much condense the two years of pre-production and into his musical selections, he also presented the six months of shooting and months in post clips playing over Richard Strauss’ Also Sprach and 90 minutes on screen into the relationships Zarathustra (the 2001: A Space Odyssey theme) that allowed good work to happen. on kazoo, and talked about shooting Justin “It’s nothing to do with technique or the material Timberlake’s SexyBack.

Happy Together

18 | CREWED “As with heroin, the antidote to film is more film,” Phillip Noyce (Clear and Present Danger, Patriot Doyle suggested but, unlike heroin, the antidote Games, Dead Calm) as someone who “likes to is not any film. Doyle turns down a lot more work blow things up”. than he accepts, and usually because he can’t see the possibility of forming the right connection Then he made Rabbit Proof-Fence, which even the with the people he’d be working with. He battle-scarred Doyle admitted made everyone explained that he was offered the job of shooting cry while they were shooting it. two Harry Potter films that were being made back-to-back over 600+ shoot days. “There are directors,” Doyle said, “and then there’s the continuity person. It’s usually a very “Even in Hong Kong I could have bought a house unhappy woman. Who wants you to do it again. off that job,” he said. “But it wasn’t right.” She’s concerned about a chair and not the story everybody else is trying to tell. I don’t mind the Doyle offered some suggestions for directors, mistakes - they’re part of life.” notably, “Get out of your video village.” With a nod to the BSS venue of Auckland Uni, he He did cite some people whose work he also offered his opinion on the value of a formal admired, including David Attenborough and education. “Graduating from film school doesn’t Steve McQueen. Playing a clip from McQueen’s help. It’s only good for your sex life.” Hunger, its dialogue all delivered with thick Irish brogue, Doyle noted McQueen’s response to the On Actors question, “Why didn’t you subtitle it?” Calling the camera and its operator the only thing between the audience and the story, Doyle “Because people should listen.” also spoke about developing trust and how it’s the cinematographer’s job to become a bridge Doyle expects people to listen, and watch too, so an actor can communicate directly with an to seek out the poetry between the words and audience. image. “Let’s shut up and observe before we make a judgement,” he said. Discussing Port of Call, Doyle talked about a scene he’d shot when lead Jessie Li was naked. Nudity While he’s opinionated, Doyle’s not closed- on film is still a big deal in many parts of Asia. minded about the opportunities he’ll consider. Actresses who are prepared to do it often find He described director and fellow Australian the scenes censored and sometimes themselves

CREWED | 19 blacklisted, as happened to Fan Bingbing’s In Asia performance in Yu Li’s Lost in Beijing and Tang Wei Humility was an important part of making after the release of Ang Lee’s Lust, Caution. good work, Doyle claimed more than once: the humility to allow others to contribute what they “Jessie showed extraordinary trust in me,” Doyle had, and to distil everything down to its essence. said. “I don’t know that I’d trust me that much.” That essence could be a lot of things, however.

On Port of Call the risk paid off for Li. She earned “I’ve shot 10 films in one square kilometre good reviews and won awards for her performance of Hong Kong,” he noted. “They all look very at two awards events in Hong Kong, the Asian Film different.” Awards, and last year’s PiFan in Korea. Asked if he found he had to make any Doyle explained that the longest journey was the accommodations when moving between one towards trust. “It’s about two people finishing projects in Hong Kong or China and elsewhere, each other’s sentences. You have something I he noted, “It’s the Western films I struggle with. don’t and I have something that you don’t. It’s a I learned to make films in Hong Kong and don’t bridge.” really know film English, the jargon and the technical terms. In Putonghua or Cantonese I’m Not that he’s above helping actors make that fine.” journey at a pace of his own choosing. “Don’t let them do what they want. If they’re worried Doyle also discussed broader differences about motivation and you just need them to go between Asian and European or Hollywood films. somewhere, put a light there. They always find Asian titles, he reckoned, were not conceived to the fucking light. It’s feng shui.” suit the same structures – especially the three act

Port of call

20 | CREWED structure of “meet, fight, resolve” – but were more Doyle worked with Wong on eight films and said, akin to a mandala, a continuum that could be “They were all the same film. We just took away viewed from many angles. “You contemplate and and took away until we got to In the Mood for find understanding.” Love.”

That shouldn’t imply any lack of rigour in Asian Parting Shots filmmaking. In answer to a question at the end Wong is notoriously slow to shoot and complete of his second session, Doyle praised regularly- films, so late arriving at the 2004 Cannes Festival awarded Hong Kong designer and editor with 2046 (the last film Doyle shot with him) that William Chang, citing a title where Chang had its first screenings had to be rescheduled. Doyle completely cut from a film a $100,000 set he’d doesn’t have the patience for that any more. “I’d designed and built because he decided during rather make 10 films in a year than a film in 10 the edit that it didn’t serve the story. Admittedly years,” he said. “Maybe it’s an age thing. Next year the film was Wong Kar-wai’s The Grandmaster, they give me a free bus pass.” from which an awful lot of material was cut, but Doyle cited it as an example of Chang’s It’s also love and concern for his adopted home, humility, his willingness to subsume his own Hong Kong. “It’s disappearing,” he said. “The achievements for the greater good. language and the culture are being subsumed.

Rabbit Proof Fence

22 | CREWED Zhang Ziyi

It feels important to make Hong Kong films now – and that only to explain how far away from because in two years it might be too late.” something he’d had to be to shoot it safely.

Soon, Doyle will shoot a second Hong Kong In his second BSS presentation, he said, “At my feature with the creative team behind Port of Call. age you do what you can not what you want.” There’s also another project coming up with Mark Cousins, whose epic The Story of Film did the Ward called it an excellent note on which to end, festival rounds a few years ago. Before that, Doyle but Doyle added a coda, asking, “How can we get will “misdirect” his own next film. somewhere special?”

Doyle never came close to offering technical “It’s the love that you give,” he closed, “like a advice, never cited a camera he’d used or mother’s cooking. You make it for the people you preferred and only once noted a lens length love and you put it on the table.”

CREWED | 23 Making an impact ANDE SCHURR ON COURTNEY BOTFIELD’S BIG SCREEN SYMPOSIUM PRESENTATION

Malala

Formerly GM of Transmission Films, Courtney Film Commission, he said, “I’ve financed, shot and Botfield has managed distribution campaigns edited it. Now what do I do?” for titles including Balibo, Boy, The King’s Speech and Samson & Delilah. Now, with longtime The NZFC is currently working with him to find screen industry publicist, Tracey Mair, she’s the best way to market the film overseas. created distribution and marketing agency Botfield wouldn’t normally recommend waiting Goodship, with a focus on establishing strategic until a production was ready to go out into the philanthropic and brand partnerships to support world before getting stuck into the marketing productions. and exploring any partnership opportunities that might exist. In her masterclass on impact When Simon Mark-Brown, producer of digital producing at the Big Screen Symposium, she media company, Kontent, and producer/director/ shared examples of films that had been able to writer of yet to be released indie title The Catch, partner with corporate sponsors to support and presented his finished film to the New Zealand leverage the films’ social messages.

24 | CREWED A beginning Such partnerships should be a win-win. Botfield offered Jennifer MacArthur’s definition Filmmakers get extra funding and access to of an Impact Producer: “one part sociologist, one a brand’s community for marketing; brands part behavioral psychologist, one part historian, get associated with a social issue and positive one part activist, one part publicist, one part exposure to the community; and agencies that fundraiser, one part program evaluator”. are already working on particular social issues find in the film a champion for their cause. “And no,” she added, “your office intern can’t do this.” Botfield challenges producers to be very clear about their intentions for a film with a social Botfield believes that partnerships between message, asking, “Do you know what you are filmmakers, brands and philanthropic agencies trying to change?” can be found and put to work for the benefit of all parties. She also wants to see them translate those answers into action, to find and lobby relevant business and Along with healthy financials, another marker political interests, and to build and manage online of success is the greater awareness brought to communities of interest around an issue. a social issue that might otherwise garner little attention without the publicity and conversations In an interview with Australia’s Inside Film, a successful narrative or documentary film can Botfield laid out the intention. “We begin as early deliver. as possible in the development of a project,

Bridget Ikin on location for Sherpa

CREWED | 25 always with an eye for those partnerships to Botfield approached outdoor apparel brand, be in the service of building communities and Kathmandu, to partner with the film. The ultimately audience. We find the partners and approach was controversial because none of manage the relationship throughout the life of the climbers or sherpas in the film were wearing the project.” Kathmandu clothing. Competitor brands were represented. A middle Before and during principal photography, However, Botfield persisted and convinced Botfield is building long-term strategic Kathmandu an association would align with the relationships that have the potential to provide company’s brand strategy: its membership of years of ongoing benefits for all parties. the Australian Himalayan Foundation and the direct link of naming the brand for the capital Not that things always go to plan, as Botfield of Nepal. Botfield was also able to present a explained about her work on Jennifer Peedom’s convincing argument about the dollar value of Sherpa, produced by Bridget Ikin (The Rehearsal). the sponsorship.

Peedom had attracted investment to a Kathmandu’s association with the film has been documentary about a legendary Sherpa guide a positive one, not least because of the number summitting Everest for a record-breaking 22nd of nominations and awards the film has picked time. Following the April 2014 avalanche that up at home in Australia and overseas. killed 16 guides, the sherpas decided not to work on the mountain for the rest of the year. Botfield also cited Davis Guggenheim’s 2015 Peedom’s film had to change, and she had to documentary He Named Me Malala, which sell the new concept to investors, and delivered addressed the issue of the rights of Pakistani what The Guardian considered “a workers’ rights girls, and all girls, to a complete and free film”. education.

The King's Speech

26 | CREWED The film tells the story of the youngest-ever delivered on its aims for the filmmakers and Nobel Peace Prize winner, Malala Yousafzai, who partners, trying to determine if it has changed survived being shot in the head by the Taliban, hearts and minds, changed behaviours, and and has continued to to advocate for girls’ right. changed social structures (such as law and policy). National Geographic took the broadcasting rights, planning to air the film in 171 countries in Botfield cited some titles as examples of films 45 languages. NatGeo Channels CEO Courteney which had been successful in addressing Monroe said, “It is more than just an honour to be significant social issues and helping to drive part of this project, I feel it is our duty”. awareness and/or change: Kirby Dick’s The Invisible War, on sexual assault in the US This year film has also been used in a campaign in Military, which helped drive policy and Syrian refugee camps in Jordan, and forms part of legislative reform; Warwick Thornton’s Samson a year-long global campaign to support childrens’ & Delilah, which addressed poverty and right to education Stand#withMalala. substance abuse in Australia’s Aboriginal communities; Tom Hooper’s The King’s Speech, a And an end(orsement) multiple Oscar-winner which addressed speech After a film’s release, Botfield asks if the film has impediments.

CREWED | 27 Splendid GLEN WALKER ON PRODUCTION SERVICES IN CANTERBURY

28 | CREWED Jane Mahoney is not shy of challenges and Moving back to Christchurch before the her history of creating success bodes well for earthquakes and then working in Events and screen production in Canterbury and beyond. Communications for several years, Jane set up The founder of Splendid (production support Splendid as new way to support national and services), Jane creates opportunities and has international teams who want to shoot in the a talent for spotting where her team’s talents South Island. can add value to visiting productions. Rather than contracting a single Producer, After finishing her studies at University, Jane clients of Splendid have the services of Jane’s created Christchurch’s first independent casting experienced team of Line Producers, casting agency in 1989. Castaway met a gap in the experts and location scouts with extensive market and proved very successful before she moved to Auckland and co-founded Bannan Films where she produced over 100 commercials and photographic campaigns shot across Australasia and Asia.

Sebastian Humphries' mural Blue Lady, from Peter Young's The Art Of Recovery

29 | CREWED local knowledge. The advantage Splendid offers terms of attitude – people here are really happy the ability to make connections quickly – to to see productions come in and will go out of provide clients with studio space, local crews and their way to make it work.” equipment which they have a history with so they know the results will be great. There have been several notable productions in Christchurch already this year and Jane feels that Jane and her team have worked with top local the region is beginning to see the benefits of and international directors and productions from this work and of setting up more infrastructure tiny to enormous multi-national enterprises and for screen production. It is her hope that word of are absolutely convinced that Canterbury and mouth will encourage even more producers to the wider area has value to offer any project. She look at coming South for their work, after some adds that there is a wonderful diversity available challenging years for the city. in locations, casting options, great acting talent and the crews available are top class. “We all win by putting ourselves out there and trying to build the infrastructure a bit, making it “I feel that we have everything here that can be easier for people to do great work here that we offered in any location. We have mountains, lakes, can start to turn that around.” beaches, farms and the city all within a short drive when this is your base. And we’re also kind Splendid’s experience counts for a lot in setting of unspoilt, in the environmental way but also in up location filming and securing the resources

Z for Zachariah

30 | CREWED Jane Mahoney needed and Jane has found that the local people who come here are really sold on it before businesses and Councils are very good – they they arrive. Once they’ve made the effort to get appreciate that productions often need to work here it’s important to make it a great experience quickly and that they are bringing multiple for them and have them go back to spread the benefits into the area, from accommodation, good word.” hospitality, employment and all the way through to the exposure that will bring other productions Working in a freelance capacity of course has its back to the area again in the future. benefits and drawbacks but Jane enjoys the busy periods when a production is in full flight and Attracting business is always important but Jane tries to appreciate any quieter times that give her focuses on creating a client experience that time to work on the business. As word gets out generates good word of mouth and encourage about the benefits of filming in the South Island, producers to return to the area. the future of productions in Canterbury and beyond is looking increasingly Splendid. Jane is philosophical about the challenges facing the South Island as a filming destination, Titles recently shot in the region include US noting that with cheap airfares and better feature Z for Zachariah, Gaylene Preston’s mini- communications it’s now easier for units to work series Hope & Wire and Peter Young’s NZIFF- anywhere in the world than ever before. premiered The Art of Recovery. Miranda Harcourt & Stuart McKenzie’s adaptation of Margaret “The main challenge is our distance and Mahy’s The Changeover is currently in production perceived remoteness but because of that the in Christchurch.

CREWED | 31 All about conversation TONY FORSTER ON SIMON PRICE AT THE BIG SCREEN SYMPOSIUM

Ruin

Simon Price picks up a badminton racket and brain surgeon, an art in which he tries to remain fires a shuttlecock towards the back row of the as invisible as possible. audience during his Big Screen Symposium address. For a moment we wonder if we're Rather than discuss the technological aspects about to enjoy another eccentric performance and the craft of editing Price, like Doyle, is more such as the one Chris Doyle gave. interested in exploring the philosophy behind his process. He enjoys words, and shares his But Price is more conventional than Doyle. delight over the discovery of the collective noun Nevertheless, it’s apparent that while he enjoys for a group of editors: an ‘erudition of editors’. talking, Price wants this to be a conversation rather than a lecture. “There is only one rule The word comes from the notion of rubbing for the session – the person now holding the out the root and smoothing out the edges, a shuttlecock must ask a question before the end.” description of editing he is happy with. But one can’t properly get to the point of doing the job He observes that editing is an enigmatic art, well without developing a common language halfway between being a short-order cook and a with the director, one that continues throughout

32 | CREWED the edit. “To have a great conversation is hard – Price illustrates how easy it is to develop a you really have to listen – and listening is really common language, asserting, “Once you have it, hard!” you can play, you can sing and dance.”

Price hates being on set, where it takes so That common language helps keeps the focus long to achieve anything and there is so on the heart of the story you are trying to tell. much waiting around, and considers it a form of warfare: attrition, presumably. In the edit One often difficult time is when the director suite, by contrast, you are instantly and always comes in to see the first assembly – and involved, and there's the opportunity to have it's ugly, it’s horrible! The director can be in fun, to play. You can relax… despair. It’s then up to the editor to encourage and support the director, to build a new The first question in the conversation has to be: conversation. “You end up being a pop- What's the film about? psychologist. Directors always talk about their Mum at some stage…” “If the director can give you a one word answer, then you know you’re halfway there! But if the Continuing the dialogue theme, Price speaks answer is a waffly ‘Well, it’s about this man/ of seeking out a series of key words or phrases woman, and they are in this place…’ then it’s – one for each of the characters, one for the going to be a difficult job.” overall arc of the story, and one for the ending

CREWED | 33 which reveals the theme. The task is to reveal what the characters want and why they want it to help navigate through the sometimes hundreds of hours of footage.

Which brings Price to the one thing that 98% of the editing process is about, structure. Is the story clear enough? How to structure it to be sure the right part of the story is being told at the right moment?

But how to find that structure? With a drama one has a clearly defined script to work from; with a documentary, not necessarily so. For Price there's no real difference in his approach to drama or documentary. But one thing he does look at with any documentary is access – what is there in the material that shows the filmmaker has gained access into an unique or unusual situation – whether by design or accident.

Having found what is unique in the footage, Price searches for what he calls the tent poles, the scenes to hold the structure up, to support those unique moments. Then he looks for the Simon Price pegs, the bits that will hold the story in place.

Antarctica

34 | CREWED “It’s good to put those things together first. If “island time”, but rather out of the movement you’re overwhelmed, you can start going down of the central character, the struggle he has in rabbit holes! Putting space in your schedule can every step he makes. really help too.” Simon and Tusi ended up taking two Often it’s the beginning or the end that needs complementary positions in the edit suite: the most attention. Simon showed us the first “Tusi’s primary focus was ensuring the film three minutes of Tusi Tamasese’s O Le Tulafale / would work for Samoan audiences and The Orator. language speakers. My position was that of the outsider: how the film was working to intrigue The beginning of this film was really hard to get someone who knows next to nothing about right, in that they were always telling the story Samoa.” (from NZ On Screen) for two separate audiences – the community the film is about, and those outside the community Tamisese wrote The Orator in the Samoan that the filmmakers also wanted to reach. The language, then translated it into English during opening sequence of the film, storm clouds and the search for funding. It was translated back rain on lush vegetation, slowly and gently leading into Samoan for the shoot, and then back to into the first appearance of the main character, English once more for the subtitling. Simon was not shot with the opening in mind, but was spoke of the freedom and creativity possible compiled out of shots that DoP Leon Narbey in writing subtitles, for exploring new levels of gathered randomly when they were unable to meaning in the translation, the possibility of shoot exteriors because of the weather. going a little deeper than literal word-for-word translation might express. The relatively slow pace of the film, established by the long duration shots in the opening In contrast, Michael Cody and Amiel Courtin- sequence, grew not out of an attempt to capture Wilson's Ruin, shot in Cambodia, was a project

Free in Deed

CREWED | 35 that was full of happy accidents. “It’s the film I Biographies describe him simply as an editor learnt most on,» said Price. but, looking into his background, you find all sorts of exploration in screen work. He has a A low-budget Apocalypse Now shot by Masters degree in scriptwriting, and a diploma Australians in Cambodia with a lot of heart, the in documentary production. He has a feature key phrases Price found for the edit were “love now in postproduction that he has written and and madness” and “individuality as a form of directed and has won prizes over the years insanity”. It was particularly through the wacky across different film-making crafts. So when – things the director did with music that he felt and why – did he choose to focus on editing? he'd learned heaps. “I’ve always enjoyed the puzzle of putting “Do you ever get so emotionally involved that together the pieces. The technical skills in it disturbs you?” An audience member asked. editing followed my abilities. It was the magic “How do you cope?” in editing that inspired me the most. I also hate shooting. I find it tiring, and I hate all the "Time off.» You need to go off and do something standing around. The amount of effort required, else for a while. Time away from a piece of work it seems absurd. So I really like when it’s all helps keep you fresh and open. down, and you can start playing.”

Simon sees himself as an editor first and In 1998 he went to the Victorian College of foremost, but feels it's good to pick up a camera the Arts in Melbourne, to do the diploma in now and then and remember how difficult that documentary production. There he learnt to use is! an Avid – “That was when I got really excited

Antarctica

36 | CREWED about editing. It was also how I made money likes the ambiguity of the job description as after that, as well.” story is, or should be, the central focus of a post- production editor’s job. He likes that this job It is trendy in some quarters nowadays to rubbish description reminds people that editing is about film schools. When Price went to Australia, "story, story, story, story and the story». there were no film schools in New Zealand. He's saddened that it’s becoming harder to go to a "It always comes back to story for me,» he says. film school now – certainly more expensive - "How best to tell the story, at all levels, at all times.” and is also concerned that, partly as a result of cost-cutting exercises, film schools seem to be Renowned editor Walter Murch talks of breaking focusing more on theory than on craft. down the proportions of editing decisions into 51% emotion, 27 % story. Since Simon considers He's not the only industry member to observe emotion to be part of story, that makes nearly that most film school graduates are not 80% of editing decisions coming down to story. “industry ready”. But for him, film school worked, And thus keeping the audience engaged… both in acquiring craft and also finding a pool of people to collaborate with. “All the technical considerations, like crossing the 180 line, continuity, are all secondary to story. You His email signature is Simon Price, Film and learn all the technical rules, then have to kind of story editor. put them in your back pocket and forget about them, and concentrate on the story. He works both as a post-production editor and also in pre-production as a story editor. Price "Story’s the hardest part – but the most fun.”

Wait

CREWED | 37 Back to the Future NZGDC16 SPEAKERS NOAH FALSTEIN AND KEN WONG

ABZU

Google’s Chief Game Designer Noah Falstein and Several years ago, he was here for a X-Media Lab Australian game designer Ken Wong presented that ran in Auckland. One of the other presenters earlier this month at NZGDC16, looking at that event made the point that despite the backwards at how far videogames have come in a pace at which tech was developing, there wasn’t relatively short period of time, and forward to the much in the way of new things, just new ways of places they might go next. doing things.

Falstein was the less keen of the two about Much of Falstein’s presentation to NZGDC16 being specific on the future, saying his employer reinforced that belief, covering some of the same Google was “very firm about me not making ground that Australian game designer Ken Wong definitive predictions.” had traversed in his session on game graphics.

A consultant, columnist and former chair of the The early days International Game Developers Association, “Play is one of the tools we’ve used to Falstein’s visit to NZ for NZGDC16 wasn’t his first. communicate with others, to share information

38 | CREWED and knowledge, to build and maintain “We’re now in a period similar to what I communities,” Falstein asserted. "It’s been experienced at the start of my career,” he said. “A around for aeons as a way for youngsters - lot of the techniques we know how to use don’t animal and human - to learn essential life and work so well with VR, so we get to experiment all survival skills." over again. We used to show off our failures so we could explain what did and didn’t work - and Falstein hasn’t been around for aeons, although that’s critical if we’re to advance.” he pretty much has in terms of the history of computer game design. A professional game While Falstein’s opportunity to be in at the developer since 1980 (his early games include beginning of videogames was more a matter of Secret of Monkey Island and Indiana Jones and good luck than judgement, it wasn’t necessarily all the Fate of Atlantis), Falstein was one of the first good. 10 employees at LucasArts Entertainment. One of the questions he encountered regularly in “There were few established rules. We tried those early days was, “This game thing might all sorts of things,” he said. “There was a lot of turn out to be a fad. Have you got something to pleasure in not being told ‘that won’t work’, but fall back on?” there was also no guidance. We went down a lot of blind alleys and reinvented the wheel a lot. It Thirtysomething years on, Falstein’s not so was the Wild West.” concerned about developing a Plan B and his experience of being in at the ground floor offers As Wong also noted, the technical limitations of some wisdom for those navigating and trying to games in the 1980s drove a lot of the decision map the new landscapes of VR, AR, MR and 360. making. The Commodore 64 displayed 16

Noah Falstein Monument Valley

CREWED | 39 colours. “They went out of their way to choose At NZGDC16 Wong discussed the changes that really ugly ones,” Falstein believed. increased processing power and capacity had had on game art over the years. From the 8-bit Falstein shared a video of a presentation the eye as a single pixel (in any one of 16 colours so games team had made in the very early days long as it was black) it took a while before 2D of LucasArts. It contained all of those 16 ugly representations of perspective were possible. colours, and games that were later abandoned. “The front-on side-scrolling representation is He talked about a game that involved David a uniquely video game artform,” he claimed. A Bowie as a character. Bowie’s people were decade later came basic 3D capability, layering, particularly keen that his eyes (which were a broader palette of colours and more mature famously different colours) would be faithfully aesthetic. When full-motion video arrived – albeit represented, and supplied Falstein with with a resolution that looks horrible now - the Pantone colour references for each eye. On the limitations were no longer much of a constraint Commodore 64, Falstein explained, anybody’s on what could be done. eye was a single black pixel. While many creators acknowledge that a blank Growing Up sheet of paper is a terrifying place to start a journey, Recently returned to his native Australia to found a the limitations on what games can do are becoming new studio, Mountains, Ken Wong has also worked few. Soft surfaces such as grass, cloth, water, still in China, the UK and the US. He was lead designer aren’t photo-realistic. Although lighting and shaders on ustwo’s mobile hit Monument Valley, which was have improved dramatically, creating shadows that named Apple’s 2014 iPad Game of the Year and behave as they should in real time is still difficult. won a BAFTA for Best Mobile and Handheld Game. The game also featured in an episode of Netflix’s But with greater processing capability and House of Cards, which did its prospects no harm. more complex modelling come greater

The Secret of Monkey Island

40 | CREWED concerned. If it takes a VR system more than 20ms to process instructions and display the results, that’s when users experience motion sickness – generally not a response that’s conducive to enjoyment.

Falstein noted the development of Google cardboard, a headset to hold a mobile phone as a VR screen, as one of the tools Google had developed. There are now over 5 million of them in use. amounts of time required to create assets and, therefore, greater costs. Drawing parallels with the film and TV industries where the shift to digital capture, the For some games, the aesthetic is the most arrival of YouTube and other video platforms, important thing about them, Wong suggested. lowered the barriers to entry, Wong noted a In the sometimes perjoratively-named “walking similar democratisation of the access to tools simulators” such as Abzu or Dear Esther, the and free resources for game developers. The gameplay is limited and often only serves to increase in teaching programming in schools allow players to experience the full effect of the would significantly grow the number of people environment. able to design games.

The landscape What might the future look like? Wong talked about searching for a new Wong suggested it might look quite a lot like aesthetic, or at least an identifiable aesthetic, in the past, but in HD. Retro remains a popular art the age of VR and AR. style, although it’s catching up. He expected to see developers revisit games that were New technology has always required a originally made at the cutting edge of available reworking of old tools and the invention of new technology, but didn’t achieve their potential ones. Falstein noted that that’s still the case for because the developers hadn’t fully understood VR, AR, 360 et al. or exploited the tech’s capabilities.

People have been sharing stories for thousands The future will also look like the creators want of years, with the techniques developing from a it to. As with film, Wong noted, indie creators speaker at a campfire to cave paintings, theatre, remain more willing to experiment than large the printing press, recorded imagery on wax studios. He praised Wellington-based creators and acetate, radio, and talking motion pictures Dinosaur Polo Club for their Mini Metro and, and television. People are still telling stories but especially, its design. the language and tools they use continue to change. Falstein and Wong both observed that VR and AR meant creating new user interfaces and For VR, the challenge is getting processing new visual languages to make user experience speeds to the right side of a 20 millisecond all that it could be – something that fellow response time. Less than 20 milliseconds passes NZGDC16 speaker Lucy Morris devoted her as simultaneous as far as the human brain is session to.

CREWED | 41 It’s all in your hands

MASTER GRIPS FINGERTIP CONTROL OF LENS AND CAMERA www.arri.com/ecs/mastergrips

Based in Sydney - Serving Australia and New Zealand Tel +61 2 9855 4300 | Email Sean: [email protected] ARRI Australia Pty Ltd, Level 1, Unit 1, 706 Mowbray Road, Lane Cove NSW 2066 2 TERTIARYTERTIARY 0 EDUCATIONEDUCATION 1 SCREENSCREEN 76 STUDIESSTUDIES CONTENTS

03 INTRODUCTION 04 EIT 06 MASSEY UNIVERSITY 07 THE NEW ZEALAND FILM SCHOOL 09 SAE CREATIVE MEDIA INSTITUTE 11 SOUTHERN INSTITUTE OF TECHNOLOGY 12 SOUTH SEAS FILM & TELEVISION SCHOOL 14 TOI WHAKAARI 15 UNITEC 18 UNIVERSITY OF AUCKLAND 20 UNIVERSITY OF OTAGO 22 VICTORIA UNIVERSITY OF WELLINGTON elcome to SCREENZ 2017 tertiary education di- up the jobs available – in game development and certain rectory. The concept is straightforward – to offer aspects of post-production, for example. At time of pub- W tertiary institutions the opportunity to share lication there’s NZFC-commissioned research being done information about their 2017 courses, both in this free to to identify those gaps with a view to finding a way to fill download publication and via the SCREENZ website. them.

SCREENZ hopes that over time this will become a valuable Conversely, there are jobs or roles in the industry for which resource there are always too many prospective candidates – direct- • for tertiary institutions, to help them promote their ing and acting being the most obvious. offer to prospective students; • for prospective students seeking the opportunity to Listing in this directory is at the discretion of each tertiary study; and institution. While that means that this publication is not • for the industry, to understand what's out there feed- (yet) a representative snapshot of what courses are on offer ing through the next generation of people with ideas nationally, it does mean you’ll find here institutions who and energy, keen to make their mark are active in promoting thier offer.

There are certainly areas of work in the screen industries Feel free to share this publication with anyone you believe where it seems NZ can't train people fast enough to take might be interested. Email it, link to it.

3EDU2017TERTIARY EDUCATION SCREEN STUDIES EIT FRAMES UP FILMING CAREERS

The setting for some of New Zealand’s most outstanding Part of EIT’s ideaschool which offers a unique movies, the East Coast is also the training ground for environment bringing together practical learning some of the film industry’s top talents. with critical thinking and professional skills in Screen Production, Visual Arts and Design, Contemporary Music Eastern Institute of Technology (EIT)’s Diploma in and Fashion. At ideaschool students learn by doing, Screen Production is a full-time, two-year, project-­based guided by experienced industry professionals, using the programme that provides students with the script and latest equipment and technologies, with opportunities copywriting, storyboarding, set design and prop for students to collaborate across disciplines, producing a making, crewing, lighting, camera, editing, sound broad portfolio of work to showcase their skills. recording and sound mixing skills they need to forge careers in film, television, videography and screen The screen production trainees are able to exercise a high production. level of creative choice in building up portfolios that include: • a short film The programme is based on EIT’s Hawke’s Bay campus in • a short documentary Taradale, close to an impressive array of locations that • a TV commercial are well-­suited to the visual and technical needs of a • a recording of a live TV studio shoot wide range of productions. • and a music video with each student developing competency and The screen production studio complex is among the confidence in writing, directing and editing their own best-­equipped screen production teaching facilities projects and crewing on their classmates’ projects. provided by a New Zealand tertiary institute. Set in park-­ like grounds, the facility encompasses two large studios, The programme aims to turn out independent producers three editing suites, television-­computer editing stations, of screen material while also providing graduates with a a sound studio and a surround-­sound theatre which pathway to positions in the industry, mainly in production and doubles as a screening room. post production.

DIPLOMA IN SCREEN PRODUCTION ideaschool Eastern Institute of Technology (EIT)

Programme Level: 6 Length: Two Years Start Date: February Study Options: Full-time Total Credits: 240 Campus: Napier, Hawke’s Bay Contact: Programme Secretary Phone: 06 974 8000 ext 5019 Email: [email protected] Websites: www.eit.ac.nz www.ideaschool.ac.nz

4 TERTIARY EDUCATION SCREEN STUDIES EIT screen production graduates are working in key roles “Screen Production teaches you the about all the skills, for organisations that include Park Road Post, Weta Digital, techniques and areas of film you need to know to kick start Maori Television and TVNZ. Others have gone on to a career in broadcasting. The skills I leant enabled me to establish their own production companies.” better understand my role and place at Radio Kahungunu not only as a Māori announcer but as a Program Developer Signposting the success of the Diploma in Screen too.” Crystal Edwards, (Screen Graduate 2015), Program Production, graduates have achieved recognition in Developer/Rangatahi Announcer, Radio Kahungunu. national and international film competition.

EIT established the programme 20 years ago. Its proven and respected track record attracts local talent as well as students from throughout New Zealand and overseas.

When it comes to screen production, trainees at ideaschool are proud to be in the frame.

GRADUATE PROFILES “Studying in such a practical course with “on set” environments really gave me a leg up when it came to graduation and entering into the real world.” Aliesha Staples, (Screen Graduate 2007), Producer, Staples Productions. www.staplesrentals.co.nz

“Regardless of where you see yourself working within the industry, Screen Production will give you the tools to do so. You go out, get your hands dirty and really immerse yourself in absolutely every facet of the industry. Experience like that is invaluable.” Hayley Osterfield, Production Manager, AWA Transmedia Studio. www.awatransmedia.com

5 TERTIARY EDUCATION SCREEN STUDIES MEDIA STUDIES

CREATE, CRITIQUE AND CONNECT WITH YOUR MEDIA WORLD Media Studies is an exciting discipline which will prepare students for future challenges in an information-rich society. Media Studies seeks to analyse and understand the production, consumption, and content of a range of media including film, social media, television, popular music, and smartphones. Students will explore the formal characteristics of these media and their social, cultural, political and economic implications. Media Studies is taught through an innovative programme which blends theory with creative practice. The skills that students will develop throughout their study are versatile and highly sought after in many careers, with digital literacy becoming increasingly important across all sectors.

STUDENTS WILL BE CHALLENGED TO: • Explore the ways in which media texts create meaning • Analyse the relationships between media and society and how this influences our views of the world • Communicate their findings effectively in speech and writing • Tackle open-ended questions where there are no simple right or wrong answers • Develop creative and critical approaches to producing media. Media Studies can be taken as a major or a minor in the Bachelor of Arts and Bachelor of Communication degrees, or in a certificate or diploma programme. It can be taken at Massey’s campuses in Albany, Manawatü, and Wellington, or through Distance learning. SOME OF THE COURSES YOU CAN STUDY WITHIN THE MEDIA STUDIES DEGREE 154.101 Introduction to Media Studies 154.115 Stardom and Celebrity in the Media 154.120 Transmedia Narrative and Storytelling 154.201 Television Studies 154.202 Advertising and Consumer Society 154.203 Popular Culture and the Media 154.204 Digital Media Production I 154.205 Popular Music Studies 154.212 New Zealand Cinema 154.222 The Art of the Film 154.224 Documentary Film 154.302 Gender and Race in the Media 154.303 Hollywood Cinema 154.304 Digital Media Production II 154.311 Social Media and Digital Cultures 154.312 Trauma and the Media 154.314 Independent Media in the Information Age

FOR FURTHER INFORMATION PLEASE VISIT OUR WEBSITE massey.ac.nz/massey/learning/departments/school-english-media-studies/media- studies/media-studies_home.cfm VISIT OUR FACEBOOK SITE facebook.com/theschoolofenglishandmediastudiesatmassey OR CONTACT Dr Ian Huffer | [email protected]

0800 MASSEY MASSEY.AC.NZ CREATING OUR FUTURE FILMMAKERS

The New Zealand Film School offers an environment COURSE OVERVIEW where committed individuals can develop their creative, The purpose of the school is to equip you with the skills technical and business skills in order to participate in, and to take up positions in the film industry via a practical and contribute to, a viable film industry in New Zealand. industry-recognised course. Our policies and practices reflect current industry standards, and aim to replicate as We are an industry-tutored school unique for our visiting closely as possible the workplace environment. tutor programme, which involves tutors coming into the school direct from the film industry. We know the industry Each week you will be issued with a call-sheet outlining is a volatile, creative and challenging milieu, so we provide the week’s programme and requirements. You are you with the training and support to fulfil your aspirations. expected to be in attendance at the school from 8.45am until 4.45pm each weekday, and to attend for extended While we have a head tutor and coordinator who teach hours if required for curriculum-based purposes. much of the content, we bring in industry professionals The year is divided into two 18 week semesters with study to teach their specific craft and supervise the film shoots. breaks between them. Some pre- or post-production This provides you with the opportunity to get to know work may be required during study breaks. The July intake (and possibly impress) the people that you will hopefully has a break of eight to ten weeks (this may vary) over the be working with in the future. summer between Semesters One and Two.

7 TERTIARY EDUCATION SCREEN STUDIES The Film School’s Certificate in Introduction to Film & • Show reel on Youtube or Vimeo, etc. Television Production is delivered through both classroom • Performance experience, e.g. kapa haka, theatre, and project-based learning. You will have the opportunity music, dance to test theory on a range of practical projects. The course • Knowledge of still photography covers directing, writing, editing, camera, lighting, sound, • Graphic design skills art department and production management, among other • Knowledge and appreciation of films and filmmakers specialities. You will complete a number of smaller individual • Knowledge and appreciation of New Zealand films, projects throughout the year, such as planning and shooting filmmakers and the New Zealand film industry a music video and documentary. There are also a number of • Relevant trade training or employment (e.g. electrical, larger group projects in which you’ll be involved, including the mechanical) production of short-films, which are generally screened at the • Ability to sketch or draw end of the first term and as part of the graduation ceremony. • Marketing/business/commerce background • Drivers licence (heavy trade vehicle licence would be As the year progresses, you will be given assistance to a bonus) select the area(s) of the industry in which you wish to • First Aid Certificate seek employment and will have opportunities to work in these specific areas on student productions. From the Also, the following eligibility requirements do apply: end of year films, you will be able to compile a showreel, which should showcase your skill in these areas. • You must be at least eighteen years of age • NCEA Level 2 or equivalent ELIGIBILITY • Evidence of skills/ability/aptitude based on Applicants do not require previous experience in the application details and interview film or television industry. All are treated on their merits and successful candidates will be chosen after Most important though is passion, as well as the individual interviews. However, there are certain skills and ability to work hard and effectively as part of a team. abilities that would give you an advantage if you were Good communication skills, both written and oral, and contemplating a career in the film and television industry, interpersonal skills will also be noted. Demonstrating these and the following will enhance your study experience: during the application process will be most beneficial. • Some experience in the film making process (amateur or professional) Only after an interview with our head of school will a • Some experience in non-linear editing software (amateur decision be made about your enrolment. The interview or professional) [Our edit systems are AVID Media can be done by appointment at the school or via Skype. Composer. Though it is an advantage to have some editing experience, our technician is an AVID certified instructor For more information or to enrol now, visit and there will be hands-on support through the course] www.filmschool.org.nz or call us on (04) 237 3100.

8 TERTIARY EDUCATION SCREEN STUDIES SAE CREATIVE MEDIA INSTITUTE

So you want to make a film? SAE Creative DIPLOMA IN FILM MAKING Media Institute can make that happen! Course Overview The Diploma in Film Making focuses on intensive theoretical and practical training in all aspects of film and television As one of the most popular destinations in the world for production. Digital film and animated element creation screen productions, New Zealand has a thriving film and is examined and construction techniques are explored in television sector and SAE Auckland is the perfect place to depth. Classes are taught within our Film Computer Lab, Film develop the practical skills and technical know-how you Studio and Post Production Studio, where students develop need to build a successful career in the industry. their creative and technical skills using industry standard equipment, software and control surfaces. SAE is the world’s leading educator in creative media industries. Spanning the globe with 54 campuses in 28 Programme Level: 5 countries, you can be assured that your qualification Length: One year full time from SAE will be recognized wherever your career takes Start Date: January you. Total Credits: 145

9 TERTIARY EDUCATION SCREEN STUDIES BACHELOR OF FILM ARTS Course Overview The Bachelor of Film Arts is an opportunity to deepen one’s understanding of the film and television industries, incorporating the development of creative skills and research methods necessary in today’s highly competitive industry environment. Alongside furthering technical skills, this degree also develops the understanding of relevant aspects of business management and legal matters as well as communication and research skills. Students meet high profile industry professionals up close in small workshops and seminars who can provide insight into their perspectives. Students will also gain work experience off site in real world film studios.

Towards the end of the programme, students undertake a substantial creative project of their own design. They are expected to demonstrate advanced abilities in a chosen area of specialization, providing a clear indication of their readiness to move into professional work.

The Bachelor of Film Arts is research based, opening the way to the highest levels of academic education (Master’s and PhD). SAE has a number of pathways into several programmes of study in New Zealand and overseas.

Programme Level: 7 Length: Two years full time (on completion of the Diploma in Film Making) Start Date: January Total Credits: 360

Auckland SAE: http://auckland.sae.edu The SAE difference: http://auckland.sae.edu/why-us/the- sae-difference

To find out more, contact SAE Auckland: Ph: (09) 373-4712 Email: [email protected] 10, 12 & 18 Heather St, Parnell, Auckland

10 TERTIARY EDUCATION SCREEN STUDIES Your experiences, your stories

By studying the Bachelor of Screen Arts at SIT you can bring your creative ideas to life with digital filmmaking, screenwriting, sound design, and animation!

Quality Learning Environment SIT's film and animation students get access to top-of-the-line cameras “I liked the way the course was structured to and computers, all equipped with the best industry standard software. We allow students to try a bit of everything in the film offer a productive creative learning environment in which you will receive making pipeline, then focus on their strengths.” expert advice and guidance. Invercargill’s location is ideal as SIT students get the opportunity to work with production companies in Queenstown and - Jasper Hayward , Bachelor of Digital Media Dunedin. A very high percentage of our graduates are now employed in the industry, both in New Zealand and overseas. Degree Level Study The Bachelor of Screen Arts is a three year full-time programme in the exciting arena where creative arts meet digital technology. The programme allows students to specialise in either digital film or animation. A wide range of subjects is covered, including digital film production, editing, screenwriting, 2D and 3D animation, stop motion, motion graphics, and business and legal skills. Skills to Adapt and Evolve The programme aims to give you not only solid technical skills, but also to “Studying at SIT gave me the industry connections expand your creative skills and to give you the ability to adapt in a rapidly and hands on experience to not only find work in changing industry. Skills in storytelling, critical thinking, composing the industry, but direct my first funded film after images are enduring, irrespective of future technology. While the graduating. My film, ‘Click Clack Click’ recently technical side is an important part of the programme, the primary focus is premiered at the London International Dance on bringing creative ideas to life. Film Festival and will also be showing at the San Francisco International Dance Film Festival.” Call today or email [email protected] - James Wilkinson, Bachelor of Digital Media

0800 4 0 FEES Call today or email [email protected] *Direct material costs apply www.sit.ac.nz South Seas is New Zealand’s leading Film, Television, Screen Acting, Animation and Photography training institution with an excellent reputation for delivering professional industry training courses. Our intensive hands-on practical courses have proven to be the best way of training people to gain the experience and confidence they need to work effectively in the media industry.

With the introduction of exciting new digital media technology now is an exciting time to join us to learn new skills. By coming on-board what some graduates have aptly described as ‘a fast ride to future success’ you are preparing to take off and become part of an industry that is really going places. FTV Course Specialisation Options: South Seas delivers 4 full time NZ Qualifications Authority • Art & Design registered courses as well as various introductory and short • Camera, Lighting, Audio courses. (See Web Site for details) • Post Production Editing • Production Management 1. DIPLOMA IN FILM & TELEVISION PRODUCTION • Drama Directing/Script Writing Find your place in the Film & Television industry! South • Documentary Directing/Research Seas is New Zealand’s leading film school. We provide the practical training and support you need to Why Come to South Seas? kick start your creative career. • Practical, hands on intensive Film & Television training • Tutoring by established film industry professionals Film & Television Course Overview: • Extensive studio facilities & cutting edge industry technology A year long course made up of four terms. In term 1, you receive basic training in all essential production skills. In 2. DIPLOMA IN ANIMATION PRODUCTION terms 2-4, you focus your studies on a selected specialist Immerse yourself in the fascinating craft of animation. skill option. This 2 year course provides you with all the skills and experience you need to succeed in the animation and gaming industry. South Seas also assists graduates to obtain industry jobs, from game artist to animator.

Animation Course Overview • Comprehensive character & gaming animation training • A fully equipped film and animation studio production facility • Intensive training by experienced industry professionals • Focus on character and story driven animation • Classes limited to maximum of 16 students

Why Come to South Seas? • Practical, hands on Animation training • Tutoring by established industry professionals • Extensive studio facilities and technology on Auckland’s North Shore

12 TERTIARY EDUCATION SCREEN STUDIES 3. DIPLOMA IN DIGITAL PHOTOGRAPHY Course Overview Do you want a rewarding creative career working as a The entertainment industry has seen a major shift in professional photographer? South Seas prepares you for employment to On-Screen rather than Theatre Acting. The the industry, majoring in Photojournalism, Commercial On Screen Acting Course provides total immersion training photography or Creative Art photography. in the unique acting skills and techniques required for Film, TV and Screen media. South Seas has an impressive range Photography Course Overview of professional equipment, facilities and other support Photography course is a year long, full time practical courses that make it an ideal venue for an acting school intensive training course. Students will receive the with a screen performance focus. knowledge, understanding, appreciation and skills fundamental to a successful career in photography. During OSA training, you will • Acquire the essential skills and practice to act on screen. During Photography Course, you will: • Discover your potential, talent and imagination as an actor. • Master the technology of the digital image production. • Perform in several original short films written by • Develop your skills through practical projects student directors. • Learn to analyse your own work and explore the role of • Gain an appreciation of key roles, responsibilities and photography in new media opportunities in the Film and TV industry. • Develop auditioning skills, create a show reel and find Why Come to South Seas? an agent. • Practical, hands on Photographic training • Tutoring by established commercial photography Why Come to South Seas? professionals • Practical, immersive Acting training • Extensive studio facilities and technology on • Tutoring by established Acting / Film Industry professionals Auckland’s North Shore • Expansive studio facilities on Auckland’s North Shore

4. DIPLOMA IN ON SCREEN ACTING COURSE Today, actors in NZ and around the world gain more work South Seas provides high quality professional training courses: The NZ Qualification Authority recently carried out their External Evaluation & on screen than on stage. South Seas offers the only full Review (EER) in July 2015. The outcome of this review resulted in South Seas time NZ acting course focused on Film and TV. If you want retaining the highest NZQA Category 1 status: with “Highly Confident” in both a career in acting, we can help you get there! Educational Performance and Capability in Self-Assessment.

13 TERTIARY EDUCATION SCREEN STUDIES FILM AT TOI

Toi Whakaari: NZ Drama School has been training actors Toi Whakaari also has New Zealand’s only costume for stage and screen for 45 years – actors like Cliff Curtis construction diploma, training makers to produce (The Dark Horse, Fear the Walking Dead), Michael Galvin costume for theatre, opera, film, television and events. Our (Shortland Street), Robyn Malcolm (Outrageous Fortune, graduates are sought after for their rare skills. Agent Anna), Kerry Fox (An Angel at My Table) and more recently Matthew Sunderland (Out of the Blue, The Devil's All third year acting students get to work on a short film Rock), Matt Whelan (The Most Fun You Can Have Dying, directed by an experienced filmmaker working with a Coverband) and Chelsie Preston Crayford (Underbelly, professional crew. The Toi Film programme produces six What We Do in the Shadows). brand new short films a year that involve students from all over the school. But did you know that Toi Whakaari offers New Zealand’s only Bachelor of Design degree specifically for stage & Visit the Toi Whakaari website at toiwhakaari.ac.nz to find screen? Our design students learn set and costume design, out more about how a Toi education can prepare you for a prop making, art department and other skills that qualify career in front of or behind the camera. them for careers in the screen industry. Several graduates have gone on to direct music videos, commercials and short films of their own.

14 TERTIARY EDUCATION SCREEN STUDIES Unitec students learning to use the Arri Alexa camera under the tutelage of renowned New Zealand Cinematographer Leon Narbey. UNITEC CREATIVE INDUSTRIES / PERFORMING AND SCREEN ARTS

Unitec in Mt Albert, Auckland has New Zealand’s largest that are innovative and cutting edge. We provide a and only fully integrated performing and screen arts project-driven environment for our students, which are school. We specialise in collaboration within a professional underpinned by solid critical theory and analysis. Our context and provide ‘real world’ learning for our students staff and students participate in collaborative projects across a range of programmes in Acting, Dance, Screen across disciplines. Arts, Music and Production Design and Management (Theatre Technology, Costume Design, Art Department). Become equipped to begin a career as a film and television professional in cinematography, editing, Our success is derived from quality teaching to sound, production, scriptwriting and directing. Work industry standards using resources and methods collaboratively with other students on a wide range of

15 TERTIARY EDUCATION SCREEN STUDIES Film students in the studio – making films all year round.

projects. Develop the skills you need to start a career in the HIGHLIGHTS film and television industry. Build a broad understanding • Participate in hands-on learning through film, television of the industrial filmmaking process and become equipped and small screen projects that replicate the industry. with specialised skills. • Work in different crew models including small teams, as well as full industrial crews, as you would on a television SCREEN ARTS PROGRAMME OVERVIEW or film set. The Bachelor of Performing and Screen Arts - Screen Arts, • Work collaboratively with acting, dance, art department is a three year, full-time programme made up of creative, and costume students to gain on-set experience in the academic and practice-based courses that develop the vital studio and on location. skills you need for the screen sector. • Learn from lecturers who are experienced film and television practitioners. Spend your first year learning about the filmmaking • Benefit from small class sizes & mentoring from your lecturers. process and the industry as a whole. You’ll study the • Access Unitec’s filmmaking equipment and facilities for relationship between specialist skills, creative and critical 12 months after you graduate to develop your projects thinking, and storytelling. It’s the ideal preparation for Year and your career. Two, when you’ll start to specialise in a particular area of • Utilise Unitec’s strong industry link with organisations the industry. such as SPADA (Screen Production & Development Association), WIFT (Women in Film & Television), By Year Three you will be deepening yours skills in your New Zealand Writers Guild, Screen Directors Guild, specialisation through lots of projects and practice. If Entertainment Technology NZ, New Zealand Film & Video you’ve already done a short course or diploma in screen Technicians’ Guild, New Zealand Cinematographers arts and are considering further study, you may even be Society, Screen Education Alliance, New Zealand & able to cross credit into Unitec’s bachelor programme. Creative Digital Content New Zealand.

16 TERTIARY EDUCATION SCREEN STUDIES Unitec camera students.

SPECIALIST AREAS KEY STAFF • Camera and field sound Dr Vanessa Byrnes (Head of Creative Industries) • Directing Maile Daugherty (Production) • Editing and post production sound Dorthe Scheffmann (Directing) • Production Management Caroline Grose (Scriptwriting) • Screenwriting Victor Grbic (Sound) The Bachelor of Performing and Screen Arts programme is Donny Duncan (Camera) also complemented with a variety of electives and critical Brent Hargreaves (Art Direction) practice courses, including: Joe Jowitt (Editing/Post Production)

• Introduction to Film History UNI SHORTS • New Zealand National Cinema Unitec hosts and organises a successful international • Professional Practice student film festival called Uni Shorts which attracts short • Audience Context and Interpretation films from around the world. This year’s festival will be • Story, Myth and Ritual held in Auckland on 15 October and you can register to • Acting for Non-Actors attend the screenings at www.unitec.ac.nz/unishorts • Hybrid Art Practice • Writing and Directing for the Theatre ENQUIRE NOW • Emerging Media Innovation Lab Call 0800 10 95 10 or enrol online at www.unitec.ac.nz/ • Writing the Short Film perform • Documentary Research & History Follow us on FACEBOOK at www.facebook.com/ • Entertainment Lab for the Very Small Screen unitecfilmschool or on TWITTER at www.twitter.com/ unitec_pasa CAREER OPTIONS • Camera: assistant camera, data wrangler, lighting assistant For more information on email [email protected] or call • Director’s assistant (09) 815 4321 ext. 7250 • Assistant editor • Production: production co-ordinator, production secretary, production assistant, assistant director, runner • Scriptwriting: researcher, scriptwriter • Sound: sound recordist, boom swinger, sound designer • Transmedia Producer • Production Stills • EPK Creator

17 TERTIARY EDUCATION SCREEN STUDIES Screen Production

Screen Production in the Faculty of Arts at the University of Auckland is an intensive film-school style experience for future writers, directors and producers of drama and documentary films. Offered at both undergraduate and postgraduate level, our programmes of study can help prepare you to become a key creative in the film and media industries. Taught by a staff of acclaimed and experienced practitioners, our courses are closely informed by trends in the industry, as well as seeped in critical discourse that may shape its future. We can provide high standard equipment, facilities and support from practiced technical staff, and are the only New Zealand member of CILECT, the International Association of Film and Television Schools.

What will I study? fundamental and advanced skills required to create your own future work as well as to work Screen Production is located within Media, Film on larger productions in the media industry. and Television in the School of Social Sciences. Our instructors are creative practitioners as At undergraduate level you can practise well as academics, and we have maintained screenwriting, cinematography and the strong links with local and international creative fundamentals of creating cinema narrative industries. Our programme incorporates (drama and documentary) with staff who have guest lecturers and opportunities for student strong links to the industry. You do not need internships and work placements. to have prior screen production experience. In recognition of the excellence of the Screen At postgraduate level you will focus more closely Production programme, it has recently been on improving your undergraduate skills in admitted to CILECT (Centre International de directing, production management, writing and Liaison des Ecoles de Cinéma et de Télévision), post-production. You will also complete your the association of the world’s major film and own personal production projects, varying in television schools. We are the only New Zealand “I am currently working as Commercial Director scope depending on the degree. member of this international organisation. This for TVNZ Blacksand and running and acting in membership also fosters staff and student the Viva La Dirt League YouTube channel. How will I learn? exchanges across various film schools around the globe. “I get to spend a lot of my time coming up You can create many standalone projects in with cool ideas for TV commercials at TVNZ, documentary and fiction, both collaboratively or coming up with funny and silly skits for the and individually over the course of your What are my study options? YouTube channel. With both of these it means study. Additionally, technical exercises in With a BA in Screen Production now available, that I get to spend a lot of time on set doing cinematography, editing, interviewing and you can progress your study from undergraduate what I love. directing performers all help develop the all the way through to postgraduate level. “I decided to study film at the University of Auckland because of the great mix of theoretical and practical film papers. “I loved my time studying in the Faculty of Arts. I spent five years there, first doing a Bachelor of Arts in Film, Television and Media Studies*, then a Bachelor of Arts (Honours) and a Master of Arts in Screen Production. “Studying in the Faculty of Arts was a great springboard into the film industry. The people I met and the contacts that I made while studying have helped me hugely in my career, because the film industry is all about collaboration. “Learning about the artistic background behind filmmaking has been incredibly useful in my career. These days, with digital technology, anyone can point a camera, but I feel that I have an advantage as a director to actually make films with soul and substance.” Adam King completed a Master of Arts in Screen Production and is now a Commercial Director for TVNZ Blacksand. *This subject is now called Media, Film and Television.

18 TERTIARY EDUCATION SCREEN STUDIES Bachelor of Arts in Screen Production area of specialisation, you will complete your and NZ Film; broadcasters such as TVNZ, Māori To give undergraduate students the opportunity own 10-minute short film or documentary, or Television, TV3, SKY TV and Prime; production to develop their screen storytelling craft, write/develop a feature screenplay. companies such as South Pacific Pictures, a major and minor in Screen Production is Eyeworks, Occasional Productions, Monsoon available. You begin to study towards the Master of Arts in Screen Production Pictures and Razor Films; advertising agencies major or minor in your second BA year. The During the MA, you will focus on one major such as Robber’s Dog, Fish, Saatchi and Saatchi Screen Production major/minor helps enrolled project in screenwriting, producing or directing and Thick as Thieves; and tertiary providers such students to learn foundation filmmaking skills (drama or documentary) and work closely with as Auckland University of Technology, Unitec, in a University environment. Students can a supervisor to realise your vision. Many of our South Seas and Southland Polytech, as well practise screenwriting, cinematography and MA students have gone on to have their work as freelancing in the broader film and media the fundamentals of creating cinema narrative screened at local and international film festivals industry. (drama and documentary) with staff who have or optioned by production companies. The Screen Production can give you a wide range of strong links to the industry. You do not need to masters is available as both a one-year or two- useful skills such as time management, project have previous experience in Screen Production year programme. management, written and oral communication to undertake this programme. skills, teamwork and the ability to turn an idea Where can it take me? into reality, alongside practical filmmaking Bachelor of Arts (Honours) or skills. The Bachelor of Arts in Screen Production Postgraduate Diploma in Arts in Our award-winning alumni show that a is unique in that it allows you to learn strong Screen Production qualification in Screen Production from the narrative and technical skills in Screen Production while also having the flexibility to During this year, you will embark upon an Faculty of Arts can take you places in the media study other BA subjects that inspire you. intensive individual and group learning industry. Past student works have screened at experience that spans across the principles major international festivals including Venice, of directing (shot composition, lighting, London and New York as well as making To find out more blocking, performance), writing (structure, appearances in the New Zealand International Visit us at characters, theme, genre, dialogue), production Film Festival. www.arts.auckland.ac.nz/screen-production management (scheduling, proposal writing, Our graduates have gained positions at contracts) and post-production (editing, sound funding bodies such as the New Zealand Film To find out how to apply see the undergraduate and media storage). The year ends with a Commission; organisations such as Script to study or postgraduate study pages at production project in which, depending on your Screen, the Screen Editors and Directors’ Guild www.arts.auckland.ac.nz/screen-production

www.arts.auckland.ac.nz/screen-production SCHOOL OF SOCIAL SCIENCES

19 TERTIARY EDUCATION SCREEN STUDIES WHY STUDY MEDIA, FILM AND COMMUNICATION AT OTAGO?

Courses in the Department will challenge your mind, broaden to teams, as well as the ability to solve problems through your views, and help you develop an increased awareness of dependable research. All of these skills are taught in our transformations in society and culture. Our goal is to prepare department; they underlie most of what we do. We also students to take their place as responsible and engaged value and develop an understanding of cultural diversity citizens, who are critical, creative and innovative, equipped to and differing perspectives, so it is not surprising that our connect with a diverse and fast-changing media world and graduates are to be found in many walks of life. to productively contribute to their communities and chosen professions. To serve this goal, our scholarship and teaching is The Department offers majors in Communication Studies, interdisciplinary, inventive, and practical. and Film and Media Studies. Students are able to tailor their studies to pursue their specific interests and goals. But that’s not all that we do. Almost all employers look Our degrees can also be combined with other subjects for fundamental life-long skills – literacy, numeracy, to form a double-major or double-degree programme of communication skills, the ability to lead and contribute study.

20 TERTIARY EDUCATION SCREEN STUDIES “My lecturers encouraged me to gain everything I could from my media and film industry studies. I was inspired to break away from the dominant media culture and work with Indigenous people in Western Australia. My aim is to help the elders and members of the community to tell their own stories and share them across different media platforms such as TV, radio and print.” - Natasha Turfrey BA (Film and Media Studies) Communications & Research Officer, Gumala Aboriginal Corporation

Challenge your mind and broaden your views in a diverse, MFCO103: Introduction to Communication Studies stimulating learning environment that demands you be MFCO203: Media History critical, creative and innovative. MFCO212: Media and Intercultural Communication • Engage responsibly with a diverse and fast-changing MFCO213: Film Genres media world MFCO216: New Zealand Cinema • Contribute productively to your communities and MFCO220: Writing for the Media chosen fields of work MFCO251: Television Studio Production • Increase your awareness of the transformations and MFCO313: Culture, Politics, Policy and Global Media the revisions in social and cultural relations MFCO318: Indigenous Representation and Cinema(s) • Prepare to take advantage of new career opportunities For further information: Some of the courses available in Media, Film and See our website: www.otago.ac.nz/mfco/index.html Communication at Otago: Visit our Facebook page: www.facebook.com/ MFCO101: Screen Form and Culture mediafilmcomms/?fref=ts MFCO102: Understanding Contemporary Media Or email us [email protected]

21 TERTIARY EDUCATION SCREEN STUDIES Credit: and O Le Anita Narbey Tulafale Ltd.

MA IN SCRIPTWRITING

Write your script: studying a Master of Arts RESULTS in Creative Writing (Scriptwriting) is a unique Our graduates have gone on to produce TV series and experience. What makes us different? films as well as many plays. LEARN MORE IMMERSE YOURSELF www.victoria.ac.nz/scriptwriting No ‘streams’. You’ll be part of a class of ten passionate and dedicated scriptwriters who immerse themselves APPLICATIONS CLOSE specifically in the art and craft of scriptwriting, supporting 1 November and providing feedback on each others’ work. NEED A PATHWAY TO THE MA? FIND YOUR VOICE We also teach undergraduate courses in Writing for Rewriting. You’ll complete three drafts of a full-length work, Television (CREW 351) and Writing for Theatre (CREW 353) allowing serious time and attention to be given to the taught by highly respected and experienced working challenges of effective script development. writers. INDUSTRY CONNECTIONS FOR MORE UNDERGRADUATE INFORMATION You’ll interact with production companies and funders, and www.victoria.ac.nz/modernletters/study/courses#about network through combined exercises with actors, directors and designers.

22 TERTIARY EDUCATION SCREEN STUDIES Other NZ institutions offering tertiary level screen education courses include:

Animation College New Zealand Aoraki Polytechnic Auckland University of Technology Best Pacific Institute of Education CPIT Design and Arts College of New Zealand EDENZ Colleges Lifeway College Manukau Institute of Technology Media Design School NorthTec Raffles School of Design and Commerce Samala Robinson Academy UCOL University of Waikato Yoobee School of Design