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New Zealand film and television : institution, industry and cultural change

Author: Trisha Dunleavy; Hester Joyce
Publisher: Bristol, U.K. : Intellect, 2011.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
This title is authored by well known researchers and authors in the field. Notwithstanding the challenges of a limited population size and the struggle to fund such costly forms of screen production as high-end film and television, both of these New Zealand screen industries have been the site of significant expectation, achievement, and cultural influence. Whilst there is a growing body of academic work on New  Read more...
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Genre/Form: Electronic books
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Trisha Dunleavy; Hester Joyce
ISBN: 9781841506098 1841506095
OCLC Number: 778436413
Description: 1 online resource (291 pages) : illustrations
Contents: Glossary of Māori terms --
List of abbreviations --
Introduction. New Zealand screen production and political economy --
'New Zealand-domiciled' feature film and television drama --
The institutional ecology for New Zealand-domiciled screen production --
'Localness' and 'universality' --
New Zealand screen production and cultural considerations --
Research questions and chapter organisation --
1. Television in the era of public monopoly (1960-88). Introduction --
Television and national culture --
The inception of television --
The single-channel era (1960-74) --
The two-channel independence (1975-79) --
Two-channel complementarity: the first years of TVNZ (1980-88) --
'Public service' objectives in programming --
Māori television --
Locally-produced TV drama in the monopoly era --
The institutional culture for TV drama production --
Three landmark TV drama productions --
Pukemanu (1971-72) --
The governor (1977) --
Erebus the aftermath (1987) --
Conclusion --
2. Pioneers, mavericks and the inception of a national cinema (1960-88). Introduction --
Cinema, industry and national culture --
The Film Industry Working Party --
Television and the emergence of a fledgling film industry --
The development of the New Zealand Film Commission --
The NZFC's founding act of Parliament --
Halcyon days: the first years of the NZFC (1978-82) --
The tax shelter years (1982-84): a production boom and bust --
NZFC policy directions in the mid-1980s --
Neo-liberal politics and some initial impacts --
New Zealand film-making: the achievement of a production industry and a distinctive voice? --
New Zealand feature films: three contrasting examples --
Sleeping dogs (1977) --
Vigil (1984) --
Ngāti (1987) --
Conclusions --
3. Television, neo-liberalism and the advent of competition (1988-99). Introduction --
The neo-liberal turn and 'New Zealand experiment' --
Neo-liberalism and television --
The restructuring and deregulation of broadcasting --
The new broadcasting legislation --
The creation and role of New Zealand on Air --
NZoA's funding allocation strategies --
Success and failures: the first decade of competition --
The proposal to sell TVNZ --
Commissioning culture after deregulation --
The independent sector, local-content and South Pacific Pictures --
TV drama production in the 1990s --
Case study of Shortland street (1992- ) --
Conclusions --
4. Neo-liberalism and the consolidation of a national film industry (1988-97). Introduction --
Challenges for the NZFC in the late 1980s --
The emergence of an NZFC Development Policy --
Changes in television, New Zealand on Air and new horizons for the film industry --
Alternative forms and related strategies: short films and one-off dramas --
Renewed production, consolidation and success --
Changes of direction for the NZFC --
The 'low budget film' and other developments in NZFC funding criteria --
International collaborations --
Further changes to NZFC directions and policy: the Ruth Harley era --
Case studies of An angel at my table (1990) and The piano (1983) --
Case studies of Once were warriors (1994) and Heavenly creatures (1994) --
Conclusions --
5. Television after 2000: digital 'plenty' in a small market. Public television post-2000: the TVNZ Charter and other initiatives --
Establishing a Māori Television Network --
Unrealistic expectations and conflicting objectives: the failure of the TVNZ Charter --
Intensifying competition in a deregulated television market --
Free-to-air digital television and new digital channels --
The post-2000 context for TV drama production --
Locally-produced TV drama and the influence of New Zealand on Air --
Case study of Outrageous fortune (2005-10) --
Conclusions --
6. New Zealand cinema and internationalism (1998-2010). Introduction --
Film industry criticisms of the NZFC --
Cultural considerations and a change of government --
The Film Production Trust Fund: operation and outcomes --
The Screen Industry Task Force and other government initiatives --
Branding New Zealand: Peter Jackson and 'Wellywood' --
Enticing international investment: the Large Budget Screen Production Grant --
The implications of an international presence --
Facilitating local production: the Screen Production Investment Fund --
Maintaining New Zealand-domiciled feature film --
The NZFC and Māori-themed feature films --
Case study of Whale rider (2002) --
Case study of Boy (2010) --
Evaluating the changing context for New Zealand film production (2008-10) --
Conclusions. Institutional and cultural change in television --
Institutional and cultural change in film --
Key influences on New Zealand-domiciled feature film and TV drama.
Responsibility: Trisha Dunleavy and Hester Joyce.

Abstract:

Whilst there is a growing body of academic work on New Zealand film and television, this book adresses relatively little exists on industries, institutions and policy.  Read more...

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"Powered by expert knowledge and brilliant research, the authors of this book cast new light on filmmaking and television production in New Zealand. Tracing the two industries side-by-side over a Read more...

 
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