THIS IS WELLINGTON I This is Wellington The Representation of Wellington in New Zealand Tourism Film from 1912 to 2017 By Diego Bonelli A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington (2018) THIS IS WELLINGTON II THIS IS WELLINGTON III ABSTRACT This thesis analyses the representation of Wellington in tourism films between 1912, the year in which the first New Zealand tourism film depicting Wellington was released, until 2017, the production year of the last case study. It also aims to trace both the dynamics of formal, stylistic and narrative development and the contexts of circulation of New Zealand tourism film. This thesis relies on the textual analysis of case studies conceived for different distribution platforms, selected according to their stylistic, formal, thematic and narrative relevance and to the availability of related archival documents; on the analysis of archival material related to New Zealand film production; on interviews with key informants involved in local tourism film production and tourism marketing; on the analysis of scholarly sources. This research argues that the depiction of Wellington has been regularly underpinned by a set of economic, social and political factors that changed throughout time and that determined shifts and turning points in its representation. More broadly, it observes how New Zealand tourism film was on the one hand characterised by a tendency towards formal, stylistic and narrative experimentation while on the other it was constantly subjected to forms of institutional planning and control. This thesis aims to contribute to film studies in different ways. First, it defines tourism film as a subject of study, identifying its characteristics and recognizing its importance and persistence in the context of New Zealand film production. Secondly, it proposes a research methodology for tourism film based on the combined examination of different types of primary and secondary sources that can be potentially applied in different geographic contexts. Finally, it sheds light on the shifts and turning points in the representation of Wellington and New Zealand urban and suburban space throughout over a century of national tourism promotion and tourism film production. In this research, the term ‘tourism film’ has been used in its broadest sense and it is meant to include the variety of technologies and media texts that emerged throughout the analysed 105 years time frame covered in this thesis. THIS IS WELLINGTON IV THIS IS WELLINGTON V ACKNOWLEDGEMENTS To my supervisors, Dr Alfio Leotta and Associate Professor Thierry Jutel, who guided me throughout these three and a half years of study and research, always trying to bring out the best in me and in my thesis. Thanks to their knowledge, valuable advice and constant professional and personal support I have been able to adjust to a totally new academic context, to work effectively and to manage the ups and downs of my research journey without too much stress and pressure. To Professors Trisha Dunleavy and Minette Hillyer, whose suggestions and knowledge of New Zealand film history and the media world proved fundamental for my research. To colleagues Dr. Duncan Anderson and Dr. Simin Littschwager, for the very useful advice provided during my research. To Ngā Taonga-New Zealand Film Archives, Archives New Zealand and New Zealand National Library-Alexander Turnbull Library staff for helping me to trace most of the archival documents I used for this research. To my proofreaders, Heather Carew and Suze Randal, for their essential help and support. To Professor Marco Sonzogni. Thanks for your personal and professional support. Your friendship has been extremely important to me. To Victoria University of Wellington for awarding me a Victoria Doctoral Scholarship and a Submission Scholarship that allowed me to work for more than three years without excessive financial pressure. Also, thanks to the SEFTMS staff for their kindness and great professionalism. To WREDA’s marketing manager David Perks, to film directors Hugh Macdonald and Robert Sarkies and to public relations professional Anna Dean for their time and for providing me with information fundamental to my research. THIS IS WELLINGTON VI To my parents, Anna and Renato, to my sister Leila, to my brother-in-law Marco, to my nieces Lucrezia Victoria and Veronica, to my aunt Franca, to my uncle Romano and to all of my family members, who constantly encouraged and supported me throughout this life and work experience 20.000 kilometres from home. To all of my friends in Wellington, and especially to Paolo Del Canuto, Manu Verma, Flavio Palmiro, Erica Black, Hugo Liebert Ferrandis, Ramesh Parmar, Dor Fadlon, Duncan Tamati and Ajay Chouan. To all of my friends in my beloved hometown of Fidenza: Bazzo, Pippo, Berna, Armes, Gughi and many others. I have been missing you greatly. Last but not least – to Roya Jabarouti, my partner, whose love, dedication, precious advice, constant encouragement and delicious Iranian cuisine gave me extra energy and motivation. THIS IS WELLINGTON VII THIS IS WELLINGTON VIII TABLE OF ABBREVIATIONS USED IN THIS THESIS AND REFERENCE STYLE APW: Absolutely Positively Wellington GPO: Government Publicity Office LOTR: Lord of the Rings NFU: National Film Unit NZFC: New Zealand Film Commission NZTB: New Zealand Tourism Board PWT: Positively Wellington Tourism TNZ: Tourism New Zealand WREDA: Wellington Regional Economic Development Agency This thesis has been written according to the rules of APA reference style (6th edition). Line spacing and page margins were set according to Victoria University of Wellington’s formatting rules. THIS IS WELLINGTON IX THIS IS WELLINGTON X TABLE OF CONTENTS ABSTRACT III ACKNOWLEDGEMENTS V TABLE OF ABBREVIATIONS VIII TABLE OF CONTENTS X INTRODUCTION 1 Chapter Outline 5 CHAPTER ONE RESEARCH METHODOLOGY 1.1 Introduction 11 1.2 Primary Sources Availability 12 1.3 Case Studies: Selection Criteria 13 1.4 Textual Analysis 15 1.5 Archival Documents 17 1.6 Interviews 19 THIS IS WELLINGTON XI CHAPTER TWO THE URBAN, THE SUBURBAN AND THE EXTRA-URBAN: CULTURAL IDENTITIES, CINEMATIC REPRESENTATIONS AND TOURISM PROMOTION IN NEW ZEALAND 2.1 Introduction 23 2.2 Cinema and the City 2.2.1 The Academic Debate 25 2.2.2 Cinema and the City: A Historical Overview 26 2.3 New Zealand Geographic Spaces and Their Cultural Relevance 2.3.1 Extra-Urban Space, Landscape and Cultural Identity in New Zealand 33 2.3.2 The Representation of New Zealand Extra-Urban Space in Local Cultural 35 Production 2.3.3 New Zealand Suburban World: Its Cultural and Cinematic Relevance 38 2.3.4 New Zealand Urbanism and Cultural Identity 41 2.3.5 The Case of Wellington 44 2.3.6 The Representation of Urban Centres in New Zealand Film Production 46 2.4 Tourism Film as a Media Form 2.4.1 Tourism Film. A Conceptual Challenge 48 2.4.2 Tourism Film. A Historical Overview and a New Zealand Perspective 50 2.5 Conclusions 54 THIS IS WELLINGTON XII CHAPTER THREE 1912-1941. SWEET SUBURBIA AND THE BUSTLING CITY. WELLINGTON IN EARLY NEW ZEALAND FILM 3.1 Introduction 56 3.2 Early New Zealand Film Production and National Publicity: A Strong Bond 58 3.3 Tourist Resorts, Alpine Playgrounds and Overseas Promotion: The Birth of a 62 National Tourism Industry 3.4 New Zealand Tourism Film in the Early Era: Recurring Subjects and Themes 64 3.5 New Zealand Cities in the 1920s and the 1930s: Suburbs, Beaches and Bustling 66 Central Areas 3.6 Suburban Lifestyle and Capitalist Dynamism: the Multilayered Dynamics of Wellington’s Representation 3.6.1 The Particular Appeal of Wellington’s Suburbia 68 3.6.2 Suburban Sprawl and Colonial Agenda 72 3.6.3 Recurring Themes and Ideological Roots in the Celebration of 73 Wellington’s Urban Modernity 3.6.4 Wellingtonians are Part of the Picture: A Turning Point in Cinematic 79 Sensibility 3.7 Conclusions 83 THIS IS WELLINGTON XIII CHAPTER FOUR 1942-1966. UNPREDICTABLE CLIMATE, ROLLING HILLS AND SPECTACULAR COASTLINE: THE MANUFACTURING AND MARKETING OF WELLINGTON’S OWN CHARACTER 4.1 Introduction 87 4.2 The Temporary Decline of Fiction and the Coming of Age of New Zealand Non- 90 Fiction Film 4.3 A Gradual but Inexorable Growth. New Zealand Tourism Industry from 95 Isolation to Interconnection 4.4 Urban Images, Suburbanism and Scenic Views: Continuity and Change in New 99 Zealand Tourism Film Production 4.5 Urban Representation: Celebration and Prejudices 107 4.6 The Promotion of Wellington’s ‘Personality’ 4.6.1 Suburban Celebration and CBD’s Architecture: The Persistence of 110 Deeply-Rooted Conventions 4.6.2 A New Wave in the Tourism Representation of Wellington: Elements of 116 Change in Wellington Tourism Films 4.6.3 The Face of a Wellingtonian: The Emergence of Individuality in 122 Wellington’s Tourism Films 4.7 Conclusions 127 THIS IS WELLINGTON XIV CHAPTER FIVE 1967-1991. NEW ZEALAND AND WELLINGTON TOURISM FILM IN THE AGE OF TV: THE LONG ROAD TO ‘ABSOLUTELY POSITIVELY WELLINGTON’ 5.1 Introduction 130 5.2 Television, the Independents, the NFU. Hybridisation and Mutual Influences 133 in National Tourism Film Production 5.3 International Boom and Domestic Decline. New Tourist Patterns in the Long- 136 Haul Jet Era 5.4 Television Circulation, Theatrical Distribution and Film Festivals: The 140 International Spread of New Zealand Tourism Film 5.5 Urban Appeal and Cities’ Character: The Increasing Importance of New 148 Zealand Cities in National Tourism Film Production 5.6 From Art Film to TV Ads, From Reflection to Action. The Multifaceted Nature of Wellington Tourism Film Between 1966 and 1991 5.6.1 Creative, Interesting, Nonconformist, Unique: Wellington’s Lifestyle as 153 a Thematic Cornerstone in Tourism Promotion 5.6.2 Artistic Ambitions and Television’s Influence: New Ways of ‘Telling’ 159 and Promoting the City 5.7 Conclusions 163 THIS IS WELLINGTON XV CHAPTER SIX 1992-2017.