By Ian Conrich, Stuart Murray
New Zealand cinema burst onto the worldwide degree within the Nineteen Seventies and has maintained its high-profile overseas presence with such movies as Whalerider, the Lord of the jewelry trilogy and as soon as have been Warriors. modern New Zealand Cinema is an astute research of this interesting and the main thorough e-book on hand on a colourful filmmaking tradition. The publication explores the undefined, questions of aesthetics and shape, country and identification during the complete diversity of filmmaking in New Zealand. It additionally highlights particular contexts, together with Maori, documentary and brief filmmaking, literary variations, the improvement of the nationwide movie fee, advertising and marketing and censorship, in addition to questions of bicultural kinfolk, spirituality, masculinity and disability--that have a created a cinema of worldwide significance. Included is a comprehensive filmography that information all New Zealand characteristic and tv movies.
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Extra info for Contemporary New Zealand Cinema: From New Wave to Blockbuster (Tauris World Cinema)
As a producer, Ginnane had been as ready as any at the time to develop competitive deal structures in both Australia and New Zealand. But, looking back twenty years later from the vantage-point of 2003, he nonetheless felt that the period dominated by the change in New Zealand tax legislation, in September 1984, was not the most memorable in terms of the quality of the films it engendered. 3 The available evidence suggests both Murphy and Ginnane are right. There were, indeed, lots of movies made; few of them were good; a considerable amount of tax liability was offloaded by investors; some people—a few—even prospered.
Interim Film Commission, Design for the Motion Picture Production Industry (May 1978), 1. 25. , 9. J. Stephens, Public Policy and the New Zealand Feature Film Industry: An Economic Appraisal, New Zealand Film Commission Research Paper (1984), for a critique of this type of ‘economic’ rationale. 26. Dermody and Jacka, Screening of Australia, 197–99. 27. See John O’Shea, ‘Sheat–Anchor at the Helm’, Onfilm 2, no. 6 (October 1985): 12–13. 28. Bruce Jesson, ‘Commission with a New (Bank) Role’, Onfilm 2, no.
67. contemporary new zealand cinema funds, by law, were intended to ‘assist cultural development in New Zealand’, and the Board’s contributions to the NZFC were ‘specifically oriented toward indigenous New Zealand films’ (Briefing Notes 6 [May 1984]: 1–2). Quoted in Pam Graham, ‘Filmmakers face lean times’, Wellington Dominion, 5 January 1985 (NZFA file). Quoted in Rachel Lang, ‘Going for broke . . or breaks’, Onfilm 2, no. 2 (March 1985): 28. McRobie, ‘The Politics of Volatility’, 402–03. Gary Hawke, ‘Economic Trends and Economic Policy, 1938–1992’, Oxford History of New Zealand (Auckland: Oxford University Press, 1992), 441.
Contemporary New Zealand Cinema: From New Wave to Blockbuster (Tauris World Cinema) by Ian Conrich, Stuart Murray