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Call No: 71(93) CIN
Source: UK
Place: London
Publisher: Wallflower
PubDate: 2007
PhysDes: xiii, 259 p. : ill. ; 24 cm.
Series: 24 Frames
Subject: AUSTRALIA; NEW ZEALAND; NATIONAL CULTURE AND THE CINEMA. AUSTRALIA; NATIONAL CULTURE AND THE CINEMA. NEW ZEALAND; STORY OF THE KELLY GANG, THE (AT, Charles Tait, 1906); WOMAN SUFFERS, THE (AT, Raymond Longford, 1918); DAD AND DAVE COME TO TOWN (AT, Ken G. Hall, 1938); PHANTOM STOCKMAN, THE (AT, Lee Robinson, 1953); BACK OF BEYOND, THE (AT, John Heyer, 1954); JEDDA (AT, Charles Chauvel, 1955); FREE RADICALS (NZ, Len Lye, 1958); RUNAWAY (NZ, John O'Shea, 1964); THEY'RE A WEIRD MOB (AT, Michael Powell, 1966); ONE NIGHT THE MOON (AT, Rachel Perkins, 2001); SLEEPING DOGS (NZ, Roger Donaldson, 1977); VIGIL (NZ, Vincent Ward, 1984); IN THIS LIFE'S BODY (AT, Corinne Cantrill, 1984); PIANO, THE (AT, Jane Campion, 1993); YEAR OF LIVING DANGEROUSLY, THE (AT, Peter Weir, 1982); ONCE WERE WARRIORS (NZ, Lee Tamahori, 1994); OSCAR AND LUCINDA (AT, Gillian Armstrong, 1997); AFTER MABO (AT, Richard Frankland, 1997); CHOPPER (AT, Andrew Dominik, 2000); GODDESS OF 1967, THE (AT, Clara Law, 2000); MOULIN ROUGE (AT/US, Baz Luhrmann, 2001); LORD OF THE RINGS: FELLOWSHIP OF THE RING, THE (US, Peter Jackson, 2001); TWO LAWS (AT, Alessandro Cavadini & Carolyn Strachan, 1981); RABBIT-PROOF FENCE (AT, Phillip Noyce, 2001)
Summary: A collection of essays celebrating the commercially successful narrative feature films from Australia and New Zealand, including key documentaries, shorts and independent films. This coverage also invokes issues of national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood.
Notes: Includes filmography. Includes bibliography and index.
ISBN: 9781904764960

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(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 --

PhysDes: Serial
Subject: INDUSTRY, FILM. AUSTRALIA; INDUSTRY, FILM. NEW ZEALAND; CANNES FILM FESTIVAL; GOVERNMENT AID. AUSTRALIA; GOVERNMENT AID; FESTIVALS. SYDNEY; BOX OFFICE. AUSTRALIA; VIDEO AND THE CINEMA. AUSTRALIA; UNDERCOVER (AT, David Stevens, 1983); CONSTANCE (NZ, Bruce Morrison, 1984); CAME A HOT FRIDAY (NZ, Ian Mune, 1985); AMONG THE CINDERS (NZ, Rolf Haedrich, 1984); VIGIL (NZ, Vincent Ward, 1984); ANNIE'S COMING OUT (AT, Gil Brealey, 1984); CAREFUL, HE MIGHT HEAR YOU (AT, Carl Schultz, 1983); FAST TALKING (AT, Ken Cameron, 1984); FANTASY MAN (AT, John Meagher, 1984); RUN CHRISSIE RUN! (AT, Chris Langman, 1984)
Summary: Various articles on Australian and New Zealand film industries. Australian articles focus on Australian personnel attending Cannes, Government financial aid for Australian films, preparations for the Sydney Film Festival, box office takings, home video's effects on cinemas in Australia, and new Australian films debuting at Cannes. New Zealand articles focus on films to be shown at Cannes, and the New Zealand Film Commission's plans to discontinue funding of big-budget films. Advertising posters for UNDERCOVER, CONSTANCE, PALLET ON THE FLOOR, CAME A HOT FRIDAY, AMONG THE CINDERS, VIGIL, ANNIE'S COMING OUT, CAREFUL, HE MIGHT HEAR YOU, FAST TALKING, REUNION [AKA RUN CHRISSIE RUN!], and FANTASY MAN.

Call No: TITLE CLIPPINGS FILE
PhysDes: Publicity; Press kit; Stills; Clippings
Subject: VIGIL (NZ, Vincent Ward, 1984)