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Antipodean gothic cinema [manuscript] : a study of the (postmodern) Gothic in Australian and New Zealand film since the 1970s / by Romana Ashton Queensland: 2005.
Call No: 735.2 (93) ASHAuthor: Ashton, Romana Source: ATPlace: QueenslandPubDate: 2005PhysDes: 317 p. ; 30 cmSubject: HORROR FILMS. AUSTRALIA ; HORROR FILMS. NEW ZEALAND ; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975) ; PIANO, THE (AT, Jane Campion, 1993) ; DOGS IN SPACE (AT, Richard Lowenstein, 1986) ; BAD BOY BUBBY (AT, Rolf de Heer, 1993) ; NIGHT THE PROWLER, THE (AT, Jim Sharman, 1978) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; WAKE IN FRIGHT (AT, Ted Kotcheff, 1971) ; SUMMERFIELD (AT, Ken Hannam, 1977) ; SHAME (AT, Steve Jodrell, 1988) ; MAD MAX (AT, George Miller, 1979) ; MAD MAX II (AT, George Miller, 1981) ; CARS THAT ATE PARIS, THE (AT, Peter Weir, 1974) Summary: "Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheffs Wake in Fright (1971) to Peter Jacksons Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that S2Antipodean Gothic cinemaS3, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms. " - ABSTRACTNotes: Thesis (Doctor of Philosophy) - Central Queensland University: School of Humanities - Faculty of Arts, Humanities and Education, December 2005; Bibliography: leaves 299-314 ; filmography: leaves 315-318 ; telegraphy: leaf 319; We have two copies of this Thesis - they are both filed at 735.2 (93) ASH and are identical. One is labelled 'copy 1' and the other 'copy 2'Contents: -- Part one: Theorizing the (postmodern) gothic in Antipodean cinema -- 1. A gothic/postmodern poetics: two convergent models. -- 2. Antipodean Gothic/(Proto)-postmodern connections: the European unconscious and the cultural construction of the Antipodes. -- 3. Antipodean cinema: an uneasy background -- Part two: analyzing the (postmodern) gothic in Antipodean cinema. -- 4. Anitpodean ccolonial gothic: 'Picnic at Hanging Rock' and 'The Piano'. -- 5. Anitpodean urban gothic: 'Dogs in Space' and 'Bad Boy Bubby'. -- 6. Antipodean surburban gothic: -- 'The Night the Prowler' and 'Heavenly Creatures'. -- 7. Antipodean rural gothic: 'Wake in Fright', 'Summerfield', and 'Shame'. -- 8. Antipodean sci-fi car crash films and the gothic: 'The Cars that Ate Paris', 'Mad Max', and 'Mad Max - The Road Warrior'. -- Conclusion -- Bibliography -- Filmography -- Teleography.ID2: 290
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Contemporary New Zealand cinema : : from new wave to blockbuster / edited by Ian Conrich and Stuart Murray London: I.B. Tauris, 2008.
Call No: 71 (931) NEWAuthor: Conrich, Ian (ed) ; Murray, Stuart(ed) Place: LondonPublisher: I.B. TaurisPubDate: 2008PhysDes: xiv, 273 p. : ill. ; 24 cmSeries: I.B Taruris world cinema seriesSubject: 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 JACKETNotes: Filmography: p.[239]-253
Bibliography: p. 255- 258; Includes indexISBN: 9781845118372
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Featuring film 2 : the sequel / by Peter Cox, Fred Goldsworthy Melbourne: Oxford University Press, 1997.
Call No: 512.1 COXAuthor: Cox, Peter, 1953 ; Goldsworthy, Fred Source: ATPlace: MelbournePublisher: Oxford University PressPubDate: 1997PhysDes: viii, 215 p. : ill. ; 26 cmSubject: TEACHING MATERIALS ; BABE (AT, Chris Noonan, 1995) ; BRAVEHEART (US, Mel Gibson, 1995) ; CASABLANCA (US, Michael Curtiz, 1942) ; CIRCLE OF FRIENDS (US, Pat O'Connor, 1995) ; CRIMES AND MISDEMEANORS (US, Woody Allen, 1989) ; DAD AND DAVE ON OUR SELECTION (AT, George Whaley, 1995) ; [DOCTOR] DR STRANGELOVE: OR, HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (UK, Stanley Kubrick, 1964) ; EDUCATING RITA (UK, Lewis Gilbert, 1983) ; FORREST GUMP (US, Robert Zemeckis, 1994) ; FRIED GREEN TOMATOES (US, John Avnet, 1991) ; HANDMAID'S TALE, THE (US/GW, Volker Schlondorff, 1990) ; HIGH NOON (US, Fred Zinnemann, 1952) ; IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993) ; LITTLE WOMEN (US, Gillian Armstrong, 1994) ; LORENZO'S OIL (US, George Miller, 1992) ; MARY SHELLEY'S FRANKENSTEIN (US, Kenneth Branagh, 1994) ; METROPOLIS (G, Fritz Lang, 1926) ; MUCH ADO ABOUT NOTHING (UK/US, Kenneth Branagh, 1993) ; MURIEL’S WEDDING (AT, P.J. Hogan, 1994) ; NELL (US, Michael Apted, 1994) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; ONE FLEW OVER THE CUCKOO'S NEST (US, Milos Forman, 1975) ; OUTBREAK (US, Wolfgang Petersen, 1995) ; PIANO, THE (AT, Jane Campion, 1993) ; PROOF (AT, Jocelyn Moorhouse, 1991) ; PSYCHO (US, Alfred Hitchcock, 1960) ; ROSENCRANTZ AND GUILDENSTERN ARE DEAD (UK, Tom Stoppard, 1990) ; SAINT OF FORT WASHINGTON, THE (US, Tim Hunter, 1993) ; SEARCHING FOR BOBBY FISCHER (US, Steven Zaillian, 1993) ; SENSE AND SENSIBILITY (US, Ang Lee, 1995) ; SHAWSHANK REDEMPTION, THE (US, Frank Darabont, 1994) ; SUM OF US, THE (AT, Kevin Dowling & Geoff Burton, 1994) ; SWING KIDS (US, Thomas Carter, 1993) ; THAT EYE THE SKY (AT, John Ruane, 1994) ; UNFORGIVEN (US, Clint Eastwood, 1992) ; WHAT'S EATING GILBERT GRAPE (US, Lasse Hallstrom, 1993) ; WHO'S AFRAID OF VIRGINIA WOOLF? (US, Mike Nichols, 1966) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; HEIDI CHRONICLES, THE [TV] (US, Peter Bogart, 1995) Notes: Includes indexISBN: 0195540190 : $24.95LON: 12914277
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HEAVENLY CREATURES : (NZ, Peter Jackson, 1994)
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[Heavenly creatures : Melanie Lynskey as Pauline Parker and Kate Winslet as Juliet Hume sit together on a couch in warm clothing] / Director Peter Jackson 1994.
Call No: TITLE STILL INTERNATIONALSource: ATPubDate: 1994PhysDes: 1 photograph : b&w ; 18 x 26 cm.Subject: HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; LYNSKEY, MELANIE ; WINSLET, KATE Summary: Melanie Lynskey and Kate Winslet sit together on a couch. Both characters look distressed and are dressed for cold weather.Notes: White border surrounds image; Printed on Kodak paper; Three adhesive labels attached to reverse of photograph
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A history of the New Zealand fiction feature film / Bruce Babington Manchester: Manchester University Press, 2007.
Call No: 71(93) BABAuthor: Babington, Bruce Source: UKPlace: ManchesterPublisher: Manchester University PressPubDate: 2007PhysDes: x, 290 p. : ill. ; 24 cmSubject: TORR, OLIVER ; DONALDSON, ROGER ; REID, JOHN ; PRESTON, GAYLENE ; CAMPION, JANE ; WARD, VINCENT ; JACKSON, MICHAEL ; JACKSON, PETER (NZ) ; CARO, NIKI ; ADVENTURES IN MAORILAND: ALEXANDER MACKEY AND THE MAKING OF 'HEI TIKI' (NZ, Geoff Steven, 1981) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; BAD BLOOD (NZ, Mike Newell, 1981) ; BRAINDEAD (NZ, Peter Jackson, 1992) ; BROKEN BARRIER (NZ, Roger Mirams & John O'Shea, 1952) ; CAME A HOT FRIDAY (NZ, Ian Mune, 1985) ; FRIGHTENERS, THE (NZ/US, Peter Jackson, 1996) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; IN MY FATHER'S DEN (NZ/UK, Brad McGann, 2004) ; JACK BE NIMBLE (NZ, Garth Maxwell, 1993) ; LORD OF THE RINGS, THE (US, Peter Jackson, 2001-2003) ; NAVIGATOR, THE (NZ/AT, Vincent Ward, 1988) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; PIANO, THE (AT, Jane Campion, 1993) ; PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996) ; SCARECROW, THE (NZ, Sam Pillsbury, 1982) ; SOLO (NZ/AT, Tony Williams, 1978) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; XENA: WARRIOR PRINCESS [TV] (US, 1995-) Summary: The is a comprehensive account of the New Zealand feature film from its beginnings, in 1912 to now, when New Zealand films are recognised internationally [Taken from the back of the book.]Notes: Bibliography: p 279-282; Filmography: p.272-278; Includes indexISBN: 9780719075414(hbk.); 9780719075421(pbk.)Contents: 1 -- Introduction: the New Zealand fiction feature film: the history, theory, practice -- 2. Forgotten nitrate: feature film-making in New Zealand 1912-1940 -- 3. Fifty years a pioneer: the cinema of Rudall Hayward 1921-1972 -- 4. Sustaining the dream: the age of O'Shea -- 5. Living white males: New Zealand cinema 1975-1985 -- 6. 'World famous in New Zealand': contemporary cinema 1986-2005 -- 7. Wandering stars: New Zealand cinema on the world screen - Vincent Ward, Peter Jackson, Jane Campion
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Making film and television histories : Australia and New Zealand / edited by James E. Bennett and Rebecca Beirne London: I.B. Tauris, 2012.
Call No: 49[930.2](93/94) MAKSource: UKPlace: LondonPublisher: I.B. TaurisPubDate: 2012PhysDes: xxiii, 296 p. : ill. ; 24 cmSubject: HISTORY AND THE CINEMA. AUSTRALIA ; HISTORY AND TV. AUSTRALIA ; HISTORY AND THE CINEMA. NEW ZEALAND ; HISTORY AND TV. AUSTRALIA ; JEDDA (AT, Charles Chauvel, 1955) ; LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983) ; BUFFALO LEGENDS (AT, Desmond Kootji Raymond & Paul Roberts, 1997) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; BRA BOYS (AT, Sunny Abberton, 2007) ; AUSTRALIA (UK/AT/US, Baz Luhrmann, 2008) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; CAMERA NATURA (AT, Ross Gibson, 1986) ; CINEMA OF UNEASE: A PERSONAL JOURNEY BY SAM NEILL (NZ, Sam Neill & Judy Reimer, 1995) ; BREAKER MORANT (AT, Bruce Beresford, 1980) ; GALLIPOLI (AT, Peter Weir, 1981) ; COWRA BREAKOUT (AT, Chris Noonan & Phil Noyce, 1985) ; REVEALING GALLIPOLI (AT, Wain Fimeri, 2005) ; SMILEY (UK, Anthony Kimmins, 1956) ; DEVIL'S PLAYGROUND (AT, Fred Schepisi, 1976) ; PUBERTY BLUES (AT, Bruce Beresford, 1981) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; ONE SUMMER AGAIN [TV] (AT, Mark Callan, 1985) ; EVIL ANGELS (AT, Fred Schepisi, 1988) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; NED KELLY (AT/UK, Gregor Jordan, 2003) ; DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938) ; MY BRILLIANT CAREER (AT, Gillian Armstrong, 1979) ; WITCHES AND FAGGOTS - DYKES AND POOFTERS (AT, 'One in Seven', 1980) ; LOVE THE BEAST (AT, Eric Bana, 2009) ; THEY'RE A WEIRD MOB (AT, Michael Powell, 1966) ; THEY'RE A WEIRD MOB (AT/UK, Michael Powell, 1966) ; ILLUSTRIOUS ENERGY (NZ, Leon Narbey, 1987) ; SERENADES (AT, Mojgan Khadem, 2000) ; PACIFIC SOLUTION (AT/NZ, James Frankham, 2005) ; FORGOTTEN SILVER (NZ, Peter Jackson & Costa Botes, 1996) ; ROSIE'S SECRET (AT, Lisa Matthews, 1994) ; OUTBACK HOUSE [AT] (AT, 2005-) ; COLONY, THE [TV] (AT/UK, Malcolm McDonald, 2005) ; NGATI (NZ, Barry Barclay, 1987) ; UTU (NZ, Geoffrey Murphy, 1983) ; RIVER QUEEN (NZ/UK, Vincent Ward, 2005) Summary: "Making Film and Television Histories: Australian and New Zealand considers film and television texts as primary historical media with the potential to bring historical topics alive through their interplay between past and present" - TAKEN FROM BACK COVERContents: Section One Aboriginal Narratives -- Introduction / Suneeti Rekhari -- Jedda / Suneeti Rekhari -- The Making of Lousy Little Sixpence / Alec Morgan -- Buffalo Legends / Shane Motlap -- Rabbit Proof Fence / Kathy Butler -- Blood is Thicker than Water: Stains on the Land in Bra Boys / Henk Huijser -- Australia / Ann McGrath -- Section Two Maori Narratives -- Introduction / Jennifer Gauthier -- Milies in Maoriland: The Making of the First New Zealand Feature Films / Mark Derby -- Patu! / Geraldene Peters -- Ngati / Jennifer Gauthier -- Once Were Warriors / Stuart Murray -- Section Three The New Zealand Wars -- Introduction / Annabel Cooper -- `Magnificent Failure' or Subversive Triumph?: The Governor / Trisha Dunleavy -- Making Nation: Utu / Hester Joyce -- Nga Pakanga Nunui o Aotearoa/ The New Zealand Wars / Annabel Cooper -- Reconciling History in Vincent Ward's River Queen / Cherie Lacey -- Section Four Imaging the Nation -- Contents note continued: Introduction / Mark Derby -- Romantic New Zealand: 1920s and 1930s' NZ Government Publicity Office Travelogues / Alfio Leotta -- From Colony to Nation in One Hundred Crowded Years: A Narrative on Civilisation, Progress and Modernity / Lars Weckbecker -- Camera Natura / Deane Williams -- Cinema of Unease / Brenda Allen -- Seeing Bed in 1949 and 1995 / Alan Wright -- Section Five War and Society -- Introduction / Daniel Reynaud -- Breaker Morant / Craig Wilcox -- Gallipoli / Daniel Reynaud -- The Cowra Breakout / Belinda Smaill -- War Stories Our Mothers Never Told Us / Gabrielle A. Fortune -- Revealing Revealing Gallipoli / Peter Stanley -- Section Six Stories of Adolescence -- Introduction / Emma Hamilton -- Smiley / Emma Hamilton -- The Devil's Playground: Coming-of-Age as National Cinema / Josephine May -- Sex and Subculture: Bruce Beresford's Puberty Blues / Lisa Featherstone -- Whale Rider / Jennifer Gauthier -- Section Seven Icons, Crime and the Imagination -- Introduction / Michelle Arrow -- One Summer Again: The Dramatising of the Heidelberg School / Bill Garner -- Witnessing Innocence: Fred Schepisi's Evil Angels / Michelle Arrow -- An Angel at My Table / Fincina Hopgood -- The Piano / Harriet Margolis -- Heavenly Creatures: The 1954 Parker-Hulme Case / James E. Bennett -- Ned Kelly (2003) / Sarah Pinto -- Section Eight Explorations of Gender and Sexuality -- Introduction / Rebecca Beirne -- Dad and Dave Come to Town: Mr Entwhistle and Male Homosexuality / Yorick Smaal -- My Brilliant Career / Jill Roe -- Witches, Faggots, Dykes and Poofters / Scott McKinnon -- Love the Beast / Kirsten Stevens -- Section Nine Immigrants, Refugees and Multicultural Narratives -- Introduction / Michelle Langford -- Who's the Weird Mob Anyway? Assimilation and Authenticity in They're A Weird Mob / Jessica Carniel -- Illustrious Energy / Brenda Allen -- Serenades / Michelle Langford -- Pacific Solution: From Afghanistan to Aotearoa / Annie Goldson -- Section Ten Playing with the Past
Introduction / James E. Bennett -- Forgotten Silver / Craig Hight -- Rosie's Secret / Nancy Cushing -- Revisioning the Australian Outback House of 1861 / Anthony Corones -- Living History: The Colony / Claire Lowrie
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New Zealand film and television : institution, industry, and cultural change / Trisha Dunleavy and Hester Joyce Bristol, U.K. ; Chicago, USA: Intellect, 2011.
Call No: 71(931) DUNAuthor: Dunleavy, Trisha ; Joyce, Hester Source: UKPlace: Bristol, U.K. ; Chicago, USAPublisher: IntellectPubDate: 2011PhysDes: 291 p. : ill. ; 24 cmSubject: NEW ZEALAND ; INDUSTRY, FILM. NEW ZEALAND ; INDUSTRY, TV. NEW ZEALAND ; MAORI IN FILMS ; SLEEPING DOGS (NZ, Roger Donaldson, 1977) ; VIGIL (NZ, Vincent Ward, 1984) ; NGATI (NZ, Barry Barclay, 1987) ; SHORTLAND STREET [TV] (NZ, 1992-) ; ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990) ; PIANO, THE (AT, Jane Campion, 1993) ; ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; WHALE RIDER (NZ/GG, Niki Caro, 2002) ; BOY (NZ, Taika Waititi, 2010) Summary: "Despite the challenges arising from a limited population size and the difficulty of obtaining adequate funding, the film and television industries of New Zealand have been the source of significant creative achievement and profound cultural influence. Charting their emergence and subsequent development through five decades, New Zealand Film and Television: Institution, Industry and Cultural Change examines these two increasingly vibrant cultural and creative industries. Whilst there is a growing body of academic work on the film and television productions which have originated in New Zealand, relatively little exists that examines the specific cultural concerns, institutional objectives, policy directives, and industry practices that have shaped these productions. New Zealand Film and Television: Institution, Industry and Cultural Change aims to fill this gap."-BOOK BLURBNotes: includes glossary of Maori terms; includes bibliographical references; includes indexISBN: 9781841504575Contents: -- List of Illustrations -- Acknowledgements -- Glossary of Maori Terms -- List of Abbreviations -- Introduction -- 1. Television in the Era of Public Monopoly -- 2. Pioneers, Mavericks and the Inception of a National Cinema (1960-88) -- 3. Television, Neo-liberalism and the Advent of Competition (1988-99) -- 4. Neo-liberalism and the Consolidation of a National Film Industry (1988-97) -- 5. Television after 2000: Digital 'Plenty' in a Small Market -- 6. New Zealand and Internationalism (1998-2010) -- Conclusions -- References -- Index --
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The physician who assumed his patient's fever : Peter Jackson's narrative stategy in Heavenly creatures in Studies in Australasian cinema (2007) vol.1 iss.2 p.161-173
Author: McDonnell, Brian PhysDes: ArticleSubject: JACKSON, PETER (NZ) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) Summary: Heavenly creatures (1994), a dramatized version of a scandalous real-life 1954 Christchurch matricide committed by teenage girls, is one of the most accomplished films ever produced in New Zealand. The article attempts to do justice to this complex film with a detailed analysis. While attention is paid to its place both in the evolution of Peter Jackson and Frances Walsh as film-makers and in the context of New Zealand film history, the primary focus is an analysis of the film text itself, especially in terms of its narrative techniques. Perhaps the film's greatest achievement is its success in taking the audience inside the subjective experience of protagonists Pauline Parker and Juliet Hulme and the article provices insights into just how Jackson and Walksh achieved this considerable feat. It examines the different styles of storytelling that combine in the film's intricate narrational mode and scrutinizes the way Walsh and Jackson adapted Pauline's diaries into the script, demonstrating how the resulting narrative empowers the main characters by recuriting their imaginations to 'co-direct' the film.
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Understanding sound tracks through film theory / by Elsie Walker New York: Oxford University Press, c2015.
Call No: 634 WALAuthor: Walker, Elsie Source: UK/USPlace: New YorkPublisher: Oxford University PressPubDate: c2015PhysDes: ix, 435 pages : illustrations ; 26 cmSubject: SOUND ; SOUND TRACKS ; SOUNDTRACKS ; THEORY ; PSYCHOANALYSIS AND THE CINEMA ; FEMINISM AND THE CINEMA ; GENRES ; IMPERIALISM AND THE CINEMA ; HOMOSEXUALITY AND THE CINEMA ; HOMOSEXUALITY IN FILMS ; SEARCHERS, THE (US, John Ford, 1956) ; DEAD MAN (US, Jim Jarmusch, 1995) ; RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001) ; TEN CANOES (AT, Rolf De Heer, 2006) ; TO HAVE AND HAVE NOT (US, Howard Hawks, 1944) ; PIANO, THE (AT, Jane Campion, 1993) ; SHUTTER ISLAND (US, Martin Scorsese, 2010) ; REBECCA (US, Alfred Hitchcock, 1940) ; HEAVENLY CREATURES (NZ, Peter Jackson, 1994) ; BIGGER THAN LIFE (US, Nicholas Ray, 1956) Summary: "Understanding Sound Tracks Through Film Theory breaks new ground by redirecting the arguments of foundational texts within film theory to film sound tracks. Walker includes sustained analyses of particular films according to a range of theoretical approaches: psychoanalysis, feminism, genre studies, post-colonialism, and queer theory. The films come from disparate temporal and industrial contexts: from Classical Hollywood Gothic melodrama (Rebecca) to contemporary, critically-acclaimed science fiction (Gravity). Along with sound tracks from canonical American films including The Searchers and To Have and Have Not, Walker analyzes independent Australasian films: examples include Heavenly Creatures, a New Zealand film that uses music to empower its queer female protagonists; and Ten Canoes, the first Australian feature film with a script entirely in Aboriginal languages. Understanding Sound Tracks Through Film Theory thus not only calls new attention to the significance of sound tracks, but also focuses on the sonic power of characters representing those whose voices have all too often been drowned out.
Understanding Sound Tracks Through Film Theory is both rigorous and accessible to all students and scholars with a grasp of cinematic and musical structures. Moreover, the book brings together film studies, musicology, history, politics, and culture and therefore resonates across the liberal arts." -- BOOK BLURBNotes: Formerly CIP; Includes bibliographical references, filmography (page 419) and index; Includes filmographyISBN: 9780199896325Donation: Oxford University PressContents: -- acknowledgments -- general introduction -- pt. I GENRE STUDIES -- 1.Introduction: "A Semantic/Syntactic Approach to Film Genre" / Rick Altman -- 2.The Searchers -- 3.Dead Man -- pt. II POSTCOLONIALISM -- 4.Introduction: "Colonialism, Racism, and Representation: An Introduction" / Robert Stam and Louise Spence -- 5.Rabbit-Proof Fence -- 6.Ten Canoes -- pt. III FEMINISM -- 7.Introduction: "Visual Pleasure and Narrative Cinema" / Laura Mulvey -- 8.To Have and Have Not -- 9.The Piano -- pt. IV PSYCHOANALYSIS -- 10.Introduction: "Looking for the Gaze: Lacanian Film Theory and Its Vicissitudes" / Todd McGowan -- 11.Bigger Than Life -- 12.Shutter Island -- pt. V QUEER THEORY -- 13.Introduction: "Imitation and Gender Insubordination" / Judith Butler -- 14.Rebecca -- 15.Heavenly Creatures -- coda -- select filmography -- further perceiving -- select glossary index --
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