Zealand Film Research Articles

Placing Geographical Imagination in Film: New Zealand Filmmakers' Use of Landscape

ABSTRACTThe paper explores the role of landscape in New Zealand films. How is the New Zealand landscape imagined and revealed? What kind of landscape do filmmakers present? I argue that New Zealand filmmakers tap into specific geographical imaginations when they make films, and that this results in certain kinds of landscapes being produced. I sketch the methodology used in a survey of New Zealand films and ‘read’ a selection of opening and closing sequences and ‘generic places’ found in a selection of contemporary New Zealand films. 1 then offer some conclusions about New Zealand films, and their production, portrayal and imagining of New Zealand.

Breaking with English: the nation as ethnoscape1

Broken English and the bone people, a New Zealand film and novel respectively, fall into the category of nation‐building texts. Many narratives in this ‘genre’ accomplish cultural reunification through the family. However, these two works are particularly intriguing because they use land and specific spaces in order to work through these transcultural shifts as they are played out within the main characters' relationships. ‘Breaking with English’ is therefore not only a linguistic concept, but also a metaphor for the transculturation of bodies and land undertaken throughout these two titles.

Remarks on Following <i>Gravity's Rainbow</i>

The comments below are excerpted and slightly revised from an interview conducted by Joanne Drayton and published in <em>Brit Bunkley: Critical Illusions</em>, catalogue for the exhibition <em>Following Gravity's Rainbow</em>, Pelorus Trust Mediagallery, New Zealand Film Archive Mediaplex, Wellington, NZ, 2005.

The Same People Living in Different Places: Allen Curnow's Anthology and New Zealand Literary History

Hugh Roberts is associate professor of English and comparative literature at the University of California, Irvine. He is author ofShelley and the Chaos of History: A New Politics of Poetry (1997) and writes on English Romantic literature and New Zealand film, culture, and literature.

Wireless tele‐operated mechatronic control system for camera platform positioning

The skill of the camera operator in controlling the orientation of camera platforms in the film industry is one of the crucial factors in producing movies with good cinematography. Some film footage requires landscapes that make it difficult for the camera operator to efficiently operate the camera platform. Tether connections limit the manner in which the camera platform can be mounted in order to achieve the best scene shooting. This paper reports on the project undertaken by the Mechatronics and Robotics Research Group at Massey University, in conjunction with the New Zealand film industry, on the development of wireless control camera platforms.

Review: Don't Let It Get You by John O'Shea; New Zealand Film 1912-1996 by Helen Martin, Sam Edwards

Review: Don't Let It Get You by John O'Shea; New Zealand Film 1912-1996 by Helen Martin, Sam Edwards

Death and the Maiden: The Feminine and the Nation in Recent New Zealand Films

Previous articleNext article No AccessDeath and the Maiden: The Feminine and the Nation in Recent New Zealand FilmsMaureen MolloyMaureen Molloy Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Signs Volume 25, Number 1Autumn, 1999 Article DOIhttps://doi.org/10.1086/495417 Views: 16Total views on this site Citations: 7Citations are reported from Crossref Copyright 1999 The University of ChicagoPDF download Crossref reports the following articles citing this article: Creating Global Subjects, (Jun 2013): 125–151.https://doi.org/10.1002/9781118295748.ch6Susanna Trnka Specters of Uncertainty: Violence, Humor, and the Uncanny in Indo-Fijian Communities Following the May 2000 Fiji Coup, Ethos 39, no.33 (Aug 2011): 331–348.https://doi.org/10.1111/j.1548-1352.2011.01196.xDeborah Martin Wholly ambivalent demon-girl: horror, the uncanny and the representation of feminine adolescence in Lucrecia Martel's La niña santa, Journal of Iberian and Latin American Studies 17, no.11 (Apr 2011): 59–76.https://doi.org/10.1080/14701847.2011.589213Erin Mercer Missing in Action: Repression, Return, and the Post-War Uncanny, (Jan 2011): 1–35.https://doi.org/10.1057/9780230119093_1Duncan Wheeler The representation of domestic violence in popular English-language cinema, New Cinemas: Journal of Contemporary Film 7, no.22 (Oct 2009): 155–175.https://doi.org/10.1386/ncin.7.2.155/1Margaret Jolly LOOKING BACK?, Australian Feminist Studies 24, no.5959 (Mar 2009): 99–121.https://doi.org/10.1080/08164640802680627Maureen Molloy Cutting-edge Nostalgia: New Zealand Fashion Design at the New Millennium, Fashion Theory 8, no.44 (May 2015): 477–490.https://doi.org/10.2752/136270404778051537

A Fair Suck of the SAV

The case of Project Blue Sky v Australian Broadcasting Authority (ABA) is discussed to arrive at a better understanding of who is right. The need to give New Zealand film and television programs a chance is highlighted.

The New Zealand film commission: promoting an industry, forging a national identity

The New Zealand film commission: promoting an industry, forging a national identity

Review: Naming the Other: Images of the Maori in New Zealand Film and Television by Martin Blythe

Review: Naming the Other: Images of the Maori in New Zealand Film and Television by Martin Blythe

: Naming the Other: Images of the Maori in New Zealand Film and Television . Martin Blythe.

: Naming the Other: Images of the Maori in New Zealand Film and Television . Martin Blythe.

Guardians of the treasure: a moving‐image archive in Aotearoa (New Zealand)

Merely thirteen years old, the New Zealand Film Archive has already made an international reputation for its innovative approach to meeting the needs of a bi‐cultural country.

Naming the other: images of the Maori in New Zealand film and television

Naming the other: images of the Maori in New Zealand film and television

New Zealand Shoots for the Sky

The key aspects of 'Project Blue Sky', an attempt to coordinate the activities of private and public sector organisations for the development of New Zealand's audiovisual production industry are discussed. Its implications for Australia through an increased integration of the New Zealand and Australian film and television markets are analysed.