| Description |
1 online resource (291 pages) : illustrations |
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data file |
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Bibliography |
| Physical Medium |
polychrome |
| Bibliography |
Includes bibliographical references and index. |
| 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 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. |
| 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. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Motion pictures -- New Zealand.
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Motion pictures. |
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New Zealand. |
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Television -- New Zealand.
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Television. |
| Genre/Form |
Electronic books.
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| Added Author |
Joyce, Hester, 1954-
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| ISBN |
9781841506098 (electronic book) |
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1841506095 (electronic book) |
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1841504572 |
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9781841504575 |
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