New Zealand Film and Television

Hester Joyce, Trisha Dunleavy

Description

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 Zealand film and television, relatively little exists on industries, institutions and policy, which this book will address. Written by renowned experts in the field, Trisha Dunelavy and Hester Joyce, this book will provide an authoritative text on the emergence and significance of New Zealand film and television as major cultural and creative industries.

Introduction

Chapter 1: Television in the Era of Public Monopoly (1960–88) 

Chapter 2: Pioneers, Mavericks and the Inception of a National Cinema (1960–88) 

Chapter 3: Television, Neo-liberalism and the Advent of Competition (1988–99) 

Chapter 4: Neo-Liberalism and the Consolidation of a National Film Industry (1988–97) 

Chapter 5: Television after 2000: Digital ‘Plenty’ in a Small Market 

Chapter 6: New Zealand Cinema and Internationalism (1998–2010) 

Conclusions 

Institutional and Cultural Change in Television 

Institutional and Cultural Change in Film 

Key Influences on New Zealand-Domiciled Feature Film and TV Drama 

Sujets

• Energie & environnement
• Télévision
• Film
• General
• Engineering
• Technology
• Television
• General officer
• History of architecture
• Sciences et techniques
• Power Resources

Informations

• Publié par: Intellect Books Ltd
• Date de parution: 08 janvier 2012
• Nombre de lectures: 2
• EAN13: 9781841506098
• Langue: English

Extrait

New Zealand Film and Television
New Zealand Film and Television
Institution, Industry and Cultural Change
Trisha Dunleavy and Hester Joyce
First published in the UK in 2011 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2011 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2011 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose Copy-editor: Macmillan Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-457-5
Printed and bound by Hobbs, UK.
Contents
List of Illustrations
Acknowledgements
Glossary of M ori 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
Chapter 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)
Two-Channel Independence (1975-79)
Two-Channel Complementarity: The First Years of TVNZ (1980-88)
Public Service Objectives in Programming
M ori 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)
Conclusions
Chapter 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)
Ngati {1987)
Conclusions
Chapter 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
Successes 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
Chapter 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 Script 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 (1993)
Case Studies of Once Were Warriors (1994) and Heavenly Creatures (1994)
Conclusions
Chapter 5: Television after 2000: Digital Plenty in a Small Market
Introduction
Public Television Post-2000: The TVNZ Charter and Other Initiatives
Establishing a M ori 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
Chapter 6: New Zealand Cinema and Internationalism (1998-2010) 209
Introduction
Film Industry Criticisms of the NZFC
Cultural Considerations and a Change of Government
The Film Production Fund Trust: Operation and Outcomes
The Screen Industry Taskforce 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 Incentive Fund
Maintaining New Zealand-Domiciled Feature Film
The NZFC and M ori-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
Conclusions
Institutional and Cultural Change in Television
Institutional and Cultural Change in Film
Key Influences on New Zealand-Domiciled Feature Film and TV Drama
References
Index
List of Illustrations
Cover image one: Paikea Apirana (Keisha Castle-Hughes) in Whale Rider (2002). Courtesy of South Pacific Pictures Limited
Cover image two: Ted West (Frank Whitten), Van West (Antony Starr), Loretta West (Antonia Prebble), Cheryl West (Robyn Malcolm), Pascalle West (Siobhan Marshall), Jethro West (Antony Starr), and Wayne Judd (Kirk Torrance) in Outrageous Fortune (2005-10). Courtesy of South Pacific Pictures Limited
1. The Alpha Plan (1969). Courtesy of Television New Zealand
2. Pukemanu (1971-2). Courtesy of Television New Zealand
3. The Governor (1977). Courtesy of Television New Zealand
4. The Governor (1977). Courtesy of Television New Zealand
5. Erebus the Aftermath (1987). Courtesy of Television New Zealand
6. Sleeping Dogs (1977). Courtesy of Roger Donaldson
7. Vigil (1984). Courtesy of John Maynard, Vincent Ward and the New Zealand Film Commission
8. Ngdti (1987). Courtesy of the New Zealand Film Commission
9. City Life (1996-8). Courtesy of South Pacific Pictures Limited
10. Forgotten Silver (1995). Courtesy of Peter Jackson and Costa Botes
11. Shortland Street (1992-). Courtesy of South Pacific Pictures Limited
12. Shortland Street (1992-). Courtesy of South Pacific Pictures Limited
13. An Angel at My Table (1990). Courtesy of Bridget Ikin and the New Zealand Film Commission
14. The Piano (1993). Courtesy of Jan Chapman Films, Saddleback Productions and TF1 International
15. Once Were Warriors (1994). Courtesy of Robin Scholes and the New Zealand Film Commission
16. Heavenly Creatures (1994). Courtesy of Wingnut Films and The Kobal Collection
17. Kaitangata Twitch (2009). Courtesy of Production Shed. TV Limited
18. Go Girls (2009-). Courtesy of South Pacific Pictures Limited
19. The Almighty Johnsons (2011-). Courtesy of South Pacific Pictures Limited
20. Rage (2011). Courtesy of Tom Scott Productions Limited
21. Outrageous Fortune (2005-10). Courtesy of South Pacific Pictures Limited
22. The World s Fastest Indian (2005). Courtesy of the New Zealand Film Commission
23. Sione s Wedding (2006). Courtesy of South Pacific Pictures Limited
24. In My Father s Den (2004). Courtesy of the New Zealand Film Commission
25. The Strength of Water (2009). Courtesy of Fiona Copland and the New Zealand Film Commission
26. Whale Rider (2002). Courtesy of South Pacific Pictures Limited and The Kobal Collection
27. Boy (2010). Courtesy of Whenua Films and the New Zealand Film Commission
Acknowledgements
T his book owes much to the support and contributions of a number of individuals and organisations. Providing ongoing encouragement and assisting the completion of this project in a range of material ways, our partners, families, and friends have provided ongoing support. Special thanks to Derek, Liam, and Trees Neal, to Graeme Newell, Jessika Verryt, Catherine Joyce, Angie Black, and Barbara Grant. A number of academic colleagues - including Tony Schirato, Jo Smith, Peter Thompson, Lisa French, Brigid Magner, Terrie Waddell, Mary Debrett, and Gabrielle Murray - have provided encouragement at key stages. Of these colleagues, we extend particular thanks to Roger Horrocks, whose fastidious reading of our manuscript and excellent suggestions for revision have been invaluable to this book.
We are extremely grateful to the staff at Intellect Books, in particular to Samantha King, who recognised the potential of this book, to our editor Jelena Stanovnik, who has seen this book through from proposal to publication (assisting us with a myriad of tasks along the way), to Holly Rose for the book cover design, to typesetter Matthew Blurton, and to James Campbell for overseeing the marketing. Our employers - Victoria University of Wellington and La Trobe University, Melbourne - warrant special mention because the research, transcriptions, subvention, and image licensing/purchasing costs have been jointly funded by these institutions. We are very grateful to the specific providers of this funding which are: the Victoria University Research Fund (2009-10) and Faculty of Humanities and Social Sciences (2011); and La Trobe University s CACE School Grant (2009-10) and Faculty of Humanities and Social Sciences (2010). We have appreciated the excellent research assistance work that was completed by Anna Currie and Sophie Johnson in late 2009, providing invaluable data for our writing.
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