New Zealand film and television: institution, industry and cultural change
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Bristol [u.a.]
Intellect
2011
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 291 S. Ill. |
| ISBN: | 9781841504575 1841504572 |
Internformat
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Datensatz im Suchindex
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| adam_text | New Zealand Film and Television
Institution, Industry and Cultural Change
Trisha Dunleavy and Hester Joyce
Iv
intel lect Br isto l , UK / Chicago, USA
Contents
List of Illustrations 9
Acknowledgements 11
Glossary of Maori Terms 13
List of Abbreviations 15
Introduction 17
New Zealand Screen Production and Political Economy 18
New Zealand-Domiciled Feature Film and Television Drama 20
The Institutional Ecology for New Zealand-Domiciled Screen Production 21
Localness and Universality 24
New Zealand Screen Production and Cultural Considerations 26
Research Questions and Chapter Organisation 29
Chapter 1: Television in the Era of Public Monopoly (1960-88) 31
Introduction 33
Television and National Culture 33
The Inception of Television 35
The Single-Channel Era (1960-74) 37
Two-Channel Independence (1975-79) 39
Two-Channel Complementarity: The First Years of TVNZ (1980-88) 42
Public Service Objectives in Programming 45
Maori Television 47
Locally-Produced TV Drama in the Monopoly Era 49
The Institutional Culture for TV Drama Production 52
Three Landmark TV Drama Productions 54
Pukemanu (1971-72) 54
The Governor (1977) 57
Erebus the Aftermath (1987) 61
Conclusions 64
New Zealand Film and Television
Chapter 2: Pioneers, Mavericks and the Inception of a National Cinema (1960-88) 69
Introduction 71
Cinema, Industry and National Culture 72
The Film Industry Working Party 72
Television and the Emergence of a Fledgling Film Industry 74
The Development of the New Zealand Film Commission 78
The NZFC s Founding Act of Parliament 79
Halcyon Days: the First Years of the NZFC (1978-82) 81
The Tax Shelter Years (1982-84): A Production Boom and Bust 82
NZFC Policy Directions in the Mid-1980s 84
Neo-Liberal Politics and Some Initial Impacts 87
New Zealand Film-Making: The Achievement of a Production Industry and a
Distinctive Voice 89
New Zealand Feature Films: Three Contrasting Examples 90
Sleeping Dogs (1977) 91
Vigil (1984) 93
Ngati (1987) 96
Conclusions 100
Chapter 3: Television, Neo-liberalism and the Advent of Competition (1988-99) 103
Introduction 105
The Neo-Liberal Turn and New Zealand Experiment1 105
Neo-Liberalism and Television 106
The Restructuring and Deregulation of Broadcasting 108
The New Broadcasting Legislation 110
The Creation and Role of New Zealand On Air 112
NZoA s Funding Allocation Strategies 114
Successes and Failures: The First Decade of Competition 116
The Proposal to Sell TVNZ 119
Commissioning Culture after Deregulation 120
The Independent Sector, Local-Content and South Pacific Pictures 123
TV Drama Production in the 1990s 124
Case Study of Shortland Street (1992-) 129
Conclusions 134
Chapter 4: Neo-Liberalism and the Consolidation of a National Film Industry
(1988-97) 137
Introduction 139
Challenges for the NZFC in the Late 1980s 140
Contents
The Emergence of an NZFC Script Development Policy 141
Changes in Television, New Zealand On Air and New Horizons for the Film Industry 143
Alternative Forms and Related Strategies: Short Films and One-Off Dramas 146
Renewed Production, Consolidation and Success 148
Changes of Direction for the NZFC 151
The Low Budget Film and Other Developments in NZFC Funding Criteria 152
International Collaborations 154
Further Changes to NZFC Directions and Policy: The Ruth Harley Era 156
Case Studies of An Angel at My Table (1990) and The Piano (1993) 158
Case Studies of Once Were Warriors (1994) and Heavenly Creatures (1994) 162
Conclusions 167
Chapter 5: Television after 2000: Digital Plenty in a Small Market 171
Introduction 173
Public Television Post-2000: The TVNZ Charter and Other Initiatives 174
Establishing a Maori Television Network 176
Unrealistic Expectations and Conflicting Objectives: The Failure of the TVNZ Charter 180
Intensifying Competition in a Deregulated Television Market 184
Free-to-Air Digital Television and New Digital Channels 189
The Post-2000 Context for TV Drama Production 191
Locally-Produced TV Drama and the Influence of New Zealand On Air 192
Case Study of Outrageous Fortune (2005-10) 198
Conclusions 203
Chapter 6: New Zealand Cinema and Internationalism (1998-2010) 209
Introduction 211
Film Industry Criticisms of the NZFC 212
Cultural Considerations and a Change of Government 213
The Film Production Fund Trust: Operation and Outcomes 216
The Screen Industry Taskforce and Other Government Initiatives 219
Branding New Zealand: Peter Jackson and Wellywood 221
Enticing International Investment: The Large Budget Screen Production Grant 223
The Implications of an International Presence 224
Facilitating Local Production: The Screen Production Investment Fund 226
Maintaining New Zealand-Domiciled Feature Film 226
The NZFC and Maori-Themed Feature Films 230
Case Study of Whale Rider (2002) 232
Case Study of Boy (2010) 236
Evaluating the Changing Context for New Zealand Film Production (2008-10) 238
Conclusions 241
New Zealand Film and Television
Conclusions 247
Institutional and Cultural Change in Television 248
Institutional and Cultural Change in Film 254
Key Influences on New Zealand-Domiciled Feature Film and TV Drama 259
References 265
Index 279
|
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