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Call No: 71 (931) NEW
Author: Conrich, Ian (ed); Murray, Stuart(ed)
Place: London
Publisher: I.B. Tauris
PubDate: 2008
PhysDes: xiv, 273 p. : ill. ; 24 cm
Series: I.B Taruris world cinema series
Subject: FEMINISM AND THE CINEMA; FESTIVALS. NEW ZEALAND; MAORI CINEMA; MASCULINITY IN FILMS; NEW ZEALAND FILM COMMISSION; NEW ZEALAND IN FILMS; REALISM IN FILMS; RELIGION IN FILMS; BARCLAY, BARRY; CAMPION, JANE; CURTIS, CLIFF; DUFF, ALAN; DONALDSON, ROGER; DENNIS, JONATHAN; Grierson, John; JACKSON, PETER (NZ); LAWRENCE, BRUNO; MUNE, IAN; MURPHY, GEOFFREY; LANGE, DAVID; MACLEAN, ALISON; MITA, MERATA; MORRIESON, RONALD HUGH; MORRISON, TEMUERA; MULDOON, ROBERT; NEILL, SAM; PRESTON, GAYLENE; SARGESTON, FRANK; SARKIES, ROBERT; TAMAHORI, LEE; WARD, VINCENT; BAISE-MOI (FR, Virginie Despentes, 2000); BRAINDEAD (NZ, Peter Jackson, 1992); CAME A HOT FRIDAY (NZ, Ian Mune, 1985); CHANNELLING BABY (NZ, Christine Parker, 1999); CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (NZ, Sam Neill & Judy Reimer, 1995); CRUSH (NZ, Alison MacLean, 1992); DESPERATE REMEDIES (NZ, Stewart Main & Peter Wells, 1993); END OF THE GOLDEN WEATHER, THE (NZ, Ian Mune, 1991); GOODBYE PORK PIE (NZ, Geoffrey Murphy, 1980); HEAVENLY CREATURES (NZ, Peter Jackson, 1994); IRREFUTABLE TRUTH ABOUT DEMONS ((NZ, Glenn Standring, 2000); JUBILEE (NZ, Michael Hurst, 2000); LORD OF THE RINGS, THE (US, Peter Jackson, 2001-2003); MAGIK AND ROSE (NZ, Vanessa Alexander, 1999); NGATI (NZ, Barry Barclay, 1987); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); PIANO, THE (AT, Jane Campion, 1993); PRICE OF MILK, THE (NZ, Harry Sinclair, 2000); QUIET EARTH, THE (NZ, Geoffrey Murphy, 1985); RAIN (NZ, Christine Jeffs, 2001); SAVING GRACE (NZ, Costa Botes, 1997); SCARECROW, THE (NZ, Sam Pillsbury, 1982); SCARFIES (NZ, Robert Sarkies, 1999); SKIN DEEP (NZ, Geoff Steven, 1978); SNAKESKIN (NZ, Gillian Ashurst, 2001); SLEEPING DOGS (NZ, Roger Donaldson, 1977); SMASH PALACE (NZ, Roger Donaldson, 1981); TOPLESS WOMEN TALK ABOUT THEIR LIVES (NZ, Harry Sinclair, 1997); UTU (NZ, Geoffrey Murphy, 1983); VIGIL (NZ, Vincent Ward, 1984); WHALE RIDER (NZ/GG, Niki Caro, 2002)
Summary: "Focusing on industrial and commercial concerns, questions of aesthetics and form, and the cultural debates surrounding nation and identity, the book surveys the full range of filmmaking in New Zealand. It displays the rich diversity of film production in the country, and in doing so highlights a number of specific contexts - Maori, documentary and short filmmaking, literary adaptations, the development of the national Film Commission and Archive, marketing and censorship, in addition to explorations into the place of bicultural relations, spirituality, masculinity and disability - that have created a cinema of global significance. Featuring critical accounts of internationally-acclaimed features like The Piano and Once Were Warriors, as well as the growth of the national infrastructure that made such films possible, Contemporary New Zealand Cinema is the most thorough study available of a vibrant filmmaking culture. The book also includes a fully comprehensive filmography detailing all New Zealand feature and television films."--BOOK JACKET
Notes: Filmography: p.[239]-253 Bibliography: p. 255- 258; Includes index
ISBN: 9781845118372

Call No: 71(94) WOR
Author: Goldsmith, Ben (ed.), Ryan, Mark David (ed.), Lealand, Geoff (ed.)
Source: UK
Place: Bristol, U.K. ; Chicago, USA
Publisher: Intellect Books
PubDate: 2015
PhysDes: 364 pages ; 24 cm
Series: Directory of world cinema ; 19
Subject: WORLD CINEMA; AUSTRALIA; ABORIGINAL AUSTRALIAN CINEMA; NEW ZEALAND; MAORI CINEMA
Summary: "Building on and bringing up to date the material presented in the first installment of Directory of World Cinema: Australia and New Zealand, this volume continues the exploration of the cinema produced in Australia and New Zealand since the beginning of the twentieth century. Among the additions to this volume are in-depth treatments of the locations that feature prominently in the countries' cinema. Essays by leading critics and film scholars consider the significance of films of the outback and the beach, which is evoked as a liminal space in Long Weekend and a symbol of death in Heaven's Burning, among other films. Other contributions turn the spotlight on previously unexplored genres and key filmmakers, including Jane Campion, Rolf de Heer, Charles Chauvel, and Gillian Armstrong. Accompany the critical essays in this volume are more than 60 film reviews, complemented by full-colour film stills and significantly expanded references for further study. From The Piano to Red Dog, from Pictures to The Orator, Directory of World Cinema: Australia and New Zealand 2 completes this comprehensive treatment of two similar - but also different - and consistenly fascinating national cinemas." -- BOOK BLURB
Notes: Includes recommended reading; Includes filmography
ISBN: 9781841506340
Contents: Introduction: Australia -- Film of the Year -- Red Dog -- Festival Focus -- Brisbane International Film Festival -- Australian Film Locations -- Marketing Mix -- Finding International Audiences -- Star Study -- Errol Flynn -- Directors -- Jane Campion -- Arthur and Corrine Cantrill -- Ken G Hall -- Brian Trenchard Smith -- Action and Adventure -- Australian Animated Feature Films -- Comedian Comedy -- Crime -- Australian Gothic -- Horror -- Road Movie -- Science Fiction -- Thriller -- War -- The Australian Western -- Introduction: New Zealand -- Crossing the Ditch -- Directors -- Women Directors of Feature Films in New Zealand -- Annie Goldson -- Gaylene Preston -- Director Studies -- Costa Botes -- Yvonne Mackay -- Merata Mita -- Barry Barclay -- Christine Jeffs -- Experimental and Documentary Film -- Theatrical Documentary in New Zealand 2012 -- Genres of New Zealand Experimental Film -- 'Principled Patriotism' -- Emerging Asian New Zealand Film-makers in New Zealand Cinema

Call No: 205.1(94) FIL
Author: Moran, Albert
CorpAuthor: Griffith University. Institute for Cultural Policy Studies; Film Policy Conference (1991 : Griffith University)
Place: [Queensland], Australia
Publisher: Institute for Cultural Policy Studies, Faculty of Humanities, Griffith University
PubDate: 1994
PhysDes: iii, 193 p. ; 30 cm
Series: Special publication of the Institute for Cultural Policy Studies, Faculty of Humanities, Griffith University
Subject: STATE AND THE CINEMA. AUSTRALIA; GOVERNMENT CONTROL. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA; INDUSTRY, FILM. UK; INDUSTRY, FILM. NEW ZEALAND; INDUSTRY, TV. AUSTRALIA; QUOTA. AUSTRALIA; NATIONAL CONTENT. AUSTRALIA; ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS AND TV; MAORI CINEMA; ADVERTISING FOR FILMS. AUSTRALIA; INDEPENDENT PRODUCTION. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA : NEW SOUTH WALES; INDUSTRY, FILM. AUSTRALIA : QUEENSLAND; INDUSTRY, FILM. AUSTRALIA : SOUTH AUSTRALIA; NEW SOUTH WALES FILM AND TELEVISION OFFICE; QUEENSLAND FILM DEVELOPMENT OFFICE
Notes: "These papers were originally presented at the Film Policy Conference hosted by the Institute for Cultural Policy Studies at Griffith University in Brisbane in 1991"--Cover p. [4]; Includes bibliographical references
ISBN: 0868575453
LON: 9849431

Call No: 205 FIL
Author: Moran, Albert
Place: New York
Publisher: Routledge
PubDate: 1996
PhysDes: xvi, 285 p
Subject: GOVERNMENT CONTROL; STATE AND THE CINEMA; INDUSTRY, VIDEO. USA; DISTRIBUTION; INDUSTRY, FILM; COPRODUCTION. FRANCE; COPRODUCTION. UK; INDUSTRY, FILM. UK; INDUSTRY, FILM. AUSTRALIA; INDUSTRY, FILM. CANADA; INDUSTRY, FILM. LATIN AMERICAN COUNTRIES; INDUSTRY, FILM. INDIA; INDUSTRY, FILM. INDONESIA; INDUSTRY, FILM. SINGAPORE; ABORIGINAL AUSTRALIAN CINEMA; MAORI CINEMA; INDIGENOUS PEOPLE'S CINEMA. CANADA
Notes: Includes bibliographical references and index
ISBN: 0415097916 (pbk.); 0415097908 (hardcover)
LON: 12158074

Call No: 71(931=1-81) HOK
Author: Hokowhitu, Brendan -- Devadas, Vijay
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 2013
PhysDes: l, 251 pages : illustrations, portraits ; 26 cm
Subject: MAORI CINEMA; MAORI IN FILMS; NEW ZEALAND; NEW ZEALAND IN FILMS
Summary: "The Fourth Eye brings together Indigenous and noin-Indigenous scholars to provide a critical and comprehensive account of the intricate and complex relationship between the media and Maori culture. Examining the Indigenous mediascape, The Fourth Eye shows how Maori filmmakers, actors and media producers have depicted conflicts over citizenship rights and negotiated the representation of Indigenous people" - taken from back cover
ISBN: 9780816681044
Contents: Machine generated contents note: pt. I Mediated Indigeneity: Representing the Indigenous Other -- 1.Governing Indigenous Sovereignty / Vijay Devadas -- 2.Postcolonial Trauma / Allen Meek -- 3.Promotional Culture and Indigenous Identity / Jay Scherer -- 4.Viewing against the Grain / Brendan Hokowhitu -- 5.Consume or Be Consumed / Suzanne Duncan -- pt. II Indigenous Media: Emergence, Struggles, and Interventions -- 6.Theorizing Indigenous Media / Brendan Hokowhitu -- 7.Te Hokioi and the Legitimization of the Maori Nation / Lachy Paterson -- 8.Barry Barclay's Te Rua / April Strickland -- 9.Reflections on Barry Barclay and Fourth Cinema / Stephen Turner -- pt. III Maori Television: Nation, Culture, and Identity -- 10.The Maori Television Service and Questions of Culture / Chris Prentice -- 11.Maori Television, Anzac Day, and Constructing "Nationhood" / Sue Abel -- 12.Indigeneity and Cultural Belonging in Survivor-Styled Reality Television from New Zealand / Joost De Bruin

Call No: 81BAR MUR
Author: Murray, Stuart
Source: NZ
Place: Wellington
Publisher: Huia
PubDate: 2008
PhysDes: xiv, 108 p., [12] p. of plates : ill. (chiefly col.) ; 24 cm
Subject: CRITICISM; PRODUCTION; DIRECTION; DOCUMENTARY FILMS; NEW ZEALAND; MAORI CINEMA; MAORI IN FILMS; BARCLAY, BARRY; MATTER OF TASTE, A (NZ, Barry Barclay,1968); SPINNINING A YARN (NZ, Barry Barclay, 1971) ALL THAT WE NEED (NZ, Barry Barclay, 1972) THERE'S A PROBLEM HERE (NZ, Barry Barclay, 1972 ) TOWN THAT LOST A MIRACLE, THE [TV](NZ,1972) IN THE COMPANY OF TREES (NZ, Barry Barclay,; ASHES (NZ,1975) [TV]; HUNTING HORNS [TV] (NZ,1976); WOMEN IN POWER: INDIRA GANDHI (NZ, 1976) [TV]; IN SEARCH OF PAKEHATANGA: AUTUMN FIRES [TV] (NZ,1977); AKU MAHI WHATU MAORI (NZ, 1977) [TV]; MY ART OF MAORI WEAVING (NZ,1977) [TV]; MAHAWELI (NZ, Barry Barclay,1979) NEGLECTED MIRACLE ,THE (NZ, Barry Barclay, 1985); KAMATE! KAMATE! (NZ, Barry Barclay, 1987); NGATI (NZ, Barry Barclay, 1987); TE UREWERA (NZ, 1987) [TV]; TE RUA(NZ/G Barry Barclay, 1991); STOREHOUSE, THE( NZ, Barry Barclay,1991); FEATHERS OF PEACE, THE (NZ, Barry Barclay, 2000); KAIPARA AFFAIR, THE (NZ, Barry Barclay, 2005)
Summary: The book looks at the films, television work and documentaries of Barry Barclay, and presents him as a film maker who made a significant contribution to New Zealand's understanding of both its Maori community and bicultural character.
Notes: Bibliography: p. 99-103; Includes filmography; Includes index
ISBN: 9781869693282

Call No: 408.1(931) NEW
Author: Fox, Alistair (ed.); Grant, Barry Keith (ed.); Radner, Hilary (ed.)
Source: UK/US
Place: Bristol, UK
Publisher: Intellect
PubDate: 2011
PhysDes: 350 p. : ill. ; 23 cm
Subject: FILM CULTURE; MAORI CINEMA; NEW ZEALAND; NEW ZEALAND IN FILMS; CULTURE AND THE CINEMA
Summary: " New Zealand has produced one of the world's most vibrant film cultures - testament to the country's evolving history. From early silent features like The Te Kooti Trail to recent films such as River Queen, this book examines the role of cinema in building a shared sense of national identity. The works of key directors, including Peter Jackson, Jane Campion and Vincent Ward, are introduced in a new light, and select films are given in-depth coverage. With informative accounts of New Zealands fascintaing national cinema, this will be a must for film scholars around the globe. " -- BOOK BLURB
ISBN: 9781841504254
Contents: -- Acknowledgements; Introduction: The Historical Film in New Zealand Cinema; Chapter 1: Rudall Hayward and the Cinema of Maoriland: Genre-mixing and Counter-discourses in Rewi's Last Stand (1925), The Te Kooti Trail (1927) and Rewi's Last Stand/The Last Stand (1940); Chapter 2: Rudall Hayward's Democratic Cinema and the "Civilising Mission" in the "Land of the Wrong White Crowd"; Chapter 3: The Western, New Zealand History and Commercial Exploitation: The Te Kooti Trail, Utu and Crooked Earth; Chapter 4: Unsettled Historiography: Postcolonial Anxiety and the Burden of the Past in Pictures; Chapter 5: Cross-currents: River Queen's National and Trans-national Heritages; Chapter 6: Tracking Titokowaru over Text and Screen: Pakeha Narrate the Warrior, 1906-2005; Chapter 7: Rites of Passage in Post-Second World War New Zealand Cinema: Migrating the Masculine in Journey for Three (1950); Chapter 8: Cinema and the Interpretation of 1950s New Zealand History: John O'Shea and Roger Mirams, Broken Barrier (1952); Chapter 9: Re-representing Indigeneity: Approaches to History in Some Recent New Zealand and Australian Films. Chapter 10: "The Donations of History": Mauri and the Transfigured "Maori Gaze": Towards a Bi-national Cinema in Aotearoa; Chapter 11: History, Hybridity and Indeterminate Space: The Parker-Hulme Murder, Heavenly Creatures and New Zealand Cinema; Chapter 12: Screening Women's Histories: Jane Campion and the New Zealand Heritage Film, from the Biopic to the Female Gothic; Chapter 13: The Time and the Place: Music and Costume and the "Affect" of History in the New Zealand Films of Jane Campion; Chapter 14: Mining for Forgotten Gold: Leon Narbey's Illustrious Energy (1987); Filmography;bibliography; contributors; index --

Call No: 71(931) NEW
Author: Conrich, Ian (ed); Murray, Stuart (ed)
Source: US
Place: Detroit, Mich
Publisher: Wayne State University Press
PubDate: C2007
PhysDes: xiii, 374 p. : ill. ; 23 cm
Series: Contemporary approaches to film and television series
Subject: MAORI CINEMA; NEW ZEALAND; LYE, LEN; O'SHEA, JOHN; PRESTON, GAYLENE; BARCLAY, BARRY; MITA, MERATA; WELLS, PETER; DONALDSON, ROGER; MURPHY, GEOFFREY; MUNE, IAN; LAWRENCE, BRUNO; LAING, JOHN; REID, JOHN; NARBEY, LEON; WARD, VINCENT; CAMPION, JANE; MACLEAN, ALISON; JACKSON, PETER (NZ); BLYTH, DAVID; BAD BLOOD (NZ, Mike Newell, 1981); BEYOND REASONABLE DOUBT (NZ, John Laing, 1980); BOUNTY, THE (UK/US, Roger Donaldson, 1984); BRAINDEAD (NZ, Peter Jackson, 1992); BRIDGE TO NOWHWERE (NZ, Ian Mune, 1986); CADILLAC MAN (US, Roger Donaldson, 1990); DEATH IN THE FAMILY, A [TV] (NZ, Stewart Main and Peter Wells, 1987); END OF THE GOLDEN WEATHER, THE (NZ, Ian Mune, 1991); FORGOTTEN SILVER (NZ, Peter Jackson & Costa Botes, 1996); HOLY SMOKE (US, Jane Campion, 1999)
Summary: "New Zealand cinema is now applauded worldwide for its achievements and, in theis book, it is the subject of the wide-ranging critical analysis. The essays here describe an incredible progression from early New Zealand films to the blockbusters of the present. They outline industrial achievements, the workings of film form, and the effect that New Zealand cinema has as part of the country's culture. Taken together, the essays are a fitting tribute to all those who have worked in the industry." -- From the forward by Terence Bayler
Notes: Bibliography: p. 349-353; Includes index
ISBN: 9780814330173 (pbk : alk paper); 0814330177 (pbk : alk paper)

Call No: 81 BAR BAR
Author: Barclay, Barry
Edition: 2015
Place: Minneapolis, MN
Publisher: University of Minnesota Press
PubDate: 2015
PhysDes: xiv, 100 : illus. ; 21 cm
Subject: BARCLAY, BARRY; NGATI (NZ, Barry Barclay, 1987); MAORI CINEMA; NEW ZEALAND
Notes: Acclaimed Maori filmmaker Barry Barclay’s Our Own Image relates the experiences of making his documentaries and his critically acclaimed feature-length film Ngati (1987), widely credited as the first fiction feature by a member of an indigenous community. Barclay details his views on the process of filmmaking within his own Maori community and discusses how his work differed from popular cinema, advocating for indigenous control, participation, and perspectives in media. Our Own Image gives an in-depth depiction of the changes Barclay’s approach contributed to the field of documentaries, as well as displaying the respect for community Barclay brought to his filming technique. His insistence on letting people speak for themselves demonstrated authenticity to audiences, creating awareness of indigenous cinema in New Zealand and worldwide. -- publisher's blurb
ISBN: 9780816697618

Call No: 744.6 CLE
Author: Clelland-Stokes, Sacha
Source: NZ
Place: Hojbjerg, Denmark
Publisher: Intervention Press
PubDate: 2007
PhysDes: 217 p. ; 21 cm
Subject: INDIGENOUS; MAORI CINEMA; SOUTH AFRICA IN FILMS; ABORIGINAL AUSTRALIAN CINEMA; GREAT DANCE: A HUNTER'S STORY, THE (US, Craig Foster & Damon Foster); LAST WAVE, THE (AT, Peter Weir, 1977); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994)
Summary: The book looks at aborigines in Australia, South Africa, and New Zealand, and examines the social, and political attidudes of the rest of society towards these peoples. It attempts to show how film reflects these values , and concentrates on three films: The great dance - a hunter's story, The last wave, and Once were warriors.
Notes: Bibliography: p. 207-217
ISBN: 9788789825151

Call No: 451-054 (=1-81)(71):(93):(94) REV
Author: Pearson, Wendy Gay (ed.); Knabe, Susan (ed.)
Source: CN
Place: Waterloo, Ontario, Canada
Publisher: Wilfred Laurier University Press
PubDate: c2015
PhysDes: xi, 372 pages : illustrations ; 23 cm
Series: Film and media studies series; Film + media studies
Subject: CRITICISM; MEDIA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; INDIGENOUS PEOPLE'S CINEMA. CANADA; INDIGENOUS PEOPLE'S CINEMA. NEW ZEALAND; INDIGENOUS; AUSTRALIA; NEW ZEALAND; NEW ZEALAND MAORI CINEMA; NORWAY; CANADA; DIGITAL TECHNOLOGY; ABORIGINAL AUSTRALIAN CINEMA; ABORIGINAL AUSTRALIANS AND THE CINEMA; ABORIGINAL AUSTRALIANS AND TV; ABORIGINAL AUSTRALIANS IN FILMS; ABORIGINAL AUSTRALIANS ON TV; ETHNIC GROUPS IN FILMS
Summary: "From the dawn of cinema, images of Indigenous peoples have been dominated by Hollywood stereotypes and often negative depictions from elsewhere around the world. With the advent of digital technologies, however, many Indigenous peoples are working to redress the imbalance in numbers and counter the negativity. The contributors to Reverse Shots offer a unique scholarly perspective on current work in the world of Indigenous film and media. Chapters focus primarily on Canada, Australia, and New Zealand and cover areas as diverse as the use of digital technology in the creation of Aboriginal art, the healing effects of Native humour in First Nations documentaries, and the representation of the pre-colonial in films from Australia, Canada, and Norway. " --BOOK BACK COVER
Notes: Formerly CIP; Includes bibliographical references and index; Also issued online
ISBN: 9781554583355
Contents: -- pt. I dream makers -- Introduction Globalizing Indigenous Film and Media / Susan Knabe -- One: He Who Dreams: Reflections on an Indigenous Life in Film / Michael Greyeyes -- pt. II decolonizing histories -- Two: Speakin' Out Blak: New and Emergent Aboriginal Filmmakers Finding Their Voices / Ernie Blackmore -- Three:Taking Pictures B(l)ack: The Work of Tracey Moffatt / Susan Knabe -- Four.The Journals of Knud Rasmussen: Arctic History as Post/Colonial Cinema / Kerstin Knopf -- Five: Australian Indigenous Short Film as a Pedagogical Device: Introducing Wayne Blair's The Djarn Djarns and Black Talk / Colleen McGloin -- Six."Once upon a Time in a Land Far, Far Away": Representations of the Pre-Colonial World in Atanarjuat, Ofelas, and 10 Canoes / Wendy Gay Pearson -- pt. III mediating practices -- Seven: Ka Whawhai Tonu Matou: Indigenous Television in Aotearoa/New Zealand / jo smith and Sue Abel -- Eight: Superhighway across the Sky ... Aboriginal New Media Arts in Australia: A Remix and Email Conversation between Adam Szymanski and Jenny Fraser / Jenny Fraser and Adam Szymanski -- Nine: On Collectivity and the Limits of Collaboration: Caching Igloolik Video in the South / Erin Morton and Taryn Sirove -- pt. IV documentary approaches -- Ten: The Prince George Metis Elders Documentary Project: Matching Product with Process in New Forms of Documentary / Stephen Foster and Mike Evans -- Eleven: "Whacking the Indigenous Funny Bone": Native Humour and Its Healing Powers in Drew Hayden Taylor's Redskins, Tricksters, and Puppy Stew / Ute Lischke -- Twelve: Situating Indigenous Knowledges: The Talking Back of Alanis Obomsawin and Shelley Niro / Maeghan Pirie -- Thirteen:"I Wanted to Say How Beautiful We Are": Cultural Politics in Loretta Todd's Hands of History / Gail Vanstone -- pt. V other perspectives --Fourteen: Filming Indigeneity as Flanerie: Dialectic and Subtext in Terrance Odette's Heater / Tanis MacDonald -- Fifteen: Playing with Land Issues: Subversive Hybridity in The Price of Milk / Davinia Thornley -- glossary -- bibliography -- index --