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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 (NZ,1976,) [TV]; WOMEN IN POWER: INDIRA GANDHI (NZ, 1976) [TV]; IN SEARCH OF PAKEHATANGA - AUTUMN FIRES (NZ,1977) [TV]; 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: 79PIA PIA
Author: Margolis, Harriet E. (Harriet Elaine)
Place: Cambridge
Publisher: Cambridge University Press
PubDate: 2000
PhysDes: xiv, 204p. : ill. ; 23 cm
Subject: CAMPION, JANE; NYMAN, MICHAEL; PIANO, THE (AT, Jane Campion, 1993); IMPERIALISM AND THE CINEMA; MAORI IN FILMS; WOMEN IN FILMS; MUSIC IN FILMS; ADAPTATIONS; MELODRAMA
Notes: Includes bibliographical references
ISBN: 0521597218 (pbk.); 0521592585; 0521597218(pbk.)
LON: 21113370 21113370

Author: De Souza, Pascale
PhysDes: Article
Subject: MAORI IN FILMS; NATIONAL IDENTITY AND THE CINEMA. NEW ZEALAND; WHALE RIDER (NZ/GG, Niki Caro, 2002); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994)
Summary: Whale rider and Once were warriors portray families who struggle to reconcile their Maori identity with life in twentieth-century Aotearoa/New Zealand. The two movies mirror one another in so far as the former features a Maori chieft struggling to prevent the loss of Maori culture within his rural tribal group while the latter follows a nuclear family struggling to reconcile its urban identity with its rural Maori roots. Both movies pit an image of the city as an urban ghetto associated with 'social deprivation and lack of traditional culture' against that of the country as site of 'Maori cultural identity and salvation' (Spooner 2001: 95). The task of reconciling both falls to women who must undergo symbolical and/or actual death before being reborn as leaders. Though both movies conclude on a hopeful note, the path to reconciliation they suggest points 'to a contradiction which continues unresolved in practical reality' (Webster 1998: 39) and fails to address issues inherent in the concept of Maoritanga'

Call No: 71(931) DUN
Author: Dunleavy, Trisha; Joyce, Hester
Source: UK
Place: Bristol, U.K. ; Chicago, USA
Publisher: Intellect
PubDate: 2011
PhysDes: 291 p. : ill. ; 24 cm
Subject: 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 BLURB
Notes: includes glossary of Maori terms; includes bibliographical references; includes index
ISBN: 9781841504575
Contents: -- 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 --

Author: Joyce, Hester
PhysDes: Article
Subject: INDUSTRY, FILM. NEW ZEALAND; MAORI IN FILMS; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; IMPERIALISM AND THE CINEMA; NGATI (NZ, Barry Barclay, 1987); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); WHALE RIDER (NZ/GG, Niki Caro, 2002)
Summary: This article explores the development of New Zealand cinema as one of unease, as reflective of the disintegration of the utopian dream inherent in the founding settler era. It examines three films from consecutive decades, Ngati (Barclay, 1987), Once Were Warriors (Tamahori, 1994) and Whale Rider (Caro, 2002), and compares representations of Maori as illustrative of Pakeha (white settler) anxieties about Maori/Pakeha relations. It argues that while Ngati and Once Were Warriors contain elements of postcolonial critique, Whale Rider returns to a model of segregation, invoking spirituality of Maori as nostalgia for a lost utopian past. -- Abstract