Relevant bibliographies by topics / New Zealand cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'New Zealand cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "New Zealand cinema"

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Zvegintseva, Irina Anatolyaevna. "«Terra Incognita» Cinema." Journal of Flm Arts and Film Studies 4, no. 2-3 (September 15, 2012): 220–29. http://dx.doi.org/10.17816/vgik42-3220-229.

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Hoar, Peter. "“A Lucid lecturess”: The Voices of New Zealand’s Silent Cinema." Back Story Journal of New Zealand Art, Media & Design History, no. 1 (December 1, 2016): 81–96. http://dx.doi.org/10.24135/backstory.vi1.14.

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This article attempts to record some of the faint echoes left from the days of silent cinema in New Zealand. Sound has been an integral part of cinematic experience in New Zealand since the very first exhibitions during 1895 but the acoustic dimension of film has been little explored by local historians and media scholars. Cinema audiences listened as much as they watched and these sounds were generated by many sources from gramophones to orchestras. This article concentrates on just one aspect of this richly polyphonic cinematic soundscape: the human voice. Through a discussion of the ways in which lecturers, actors, and audiences used their voices as films were played, this article recovers important aspects of how films were experienced in New Zealand before the arrival of synchronised sound and pictures during the late 1920s.
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Hardy, Ann. "Hidden gods—Religion, spirituality and recent New Zealand cinema." Studies in Australasian Cinema 6, no. 1 (January 2012): 11–27. http://dx.doi.org/10.1386/sac.6.1.11_1.

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Martens, Emiel. "Maori on the Silver Screen." International Journal of Critical Indigenous Studies 5, no. 1 (January 1, 2012): 2–30. http://dx.doi.org/10.5204/ijcis.v5i1.92.

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This article examines the evolution of Maori filmmaking since the 1980s and explores this Indigenous cinema in the context of developments in the New Zealand film industry. With Barry Barclay’s idea of ‘Fourth Cinema’ in mind, it focuses on the predominantly statefunded production of Maori feature films. The article is divided in three parts. The first part traces the beginnings of Maori cinema back to the 1970s and introduces the first three feature films directed by Maori filmmakers: Ngati (Barry Barclay, 1987), Mauri (Merata Mita, 1988), and Te Rua (Barry Barclay, 1991). The second part discusses the mainstream success of Once Were Warriors (Lee Tamahori, 1994) and the film’s paradoxical contribution to Maori cinema in the 1990s. The third and final part explores the intensified course of state-funded Maori filmmaking since the 2000s and addresses some of the opportunities and challenges facing Indigenous New Zealand cinema in the current environment of institutional and commercial globalisation.
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Grose, Caroline. "Book Review: Directory of World Cinema: Australia and New Zealand." Media International Australia 141, no. 1 (November 2011): 159. http://dx.doi.org/10.1177/1329878x1114100119.

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Smith, Jo. "New Zealand cinema and the postcolonial exotic: the case ofApron Strings." Transnational Cinemas 1, no. 2 (November 2010): 129–44. http://dx.doi.org/10.1386/trac.1.2.129_1.

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Uthaman, Arya. "Film as a Mirror: Redefining Witi Ihimaera’s The Whale Rider." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i11.10127.

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This article attempts to discuss the cultural and comparative analysis between the visions in the novel The Whale Rider and the cinematic adaptation of the same. The novel and the cinema concentrated on the central character in the film Paikea and her struggles to break out of the hyper masculine orthodox visions of her grandfather Koro. It would then try to understand the implications of the cinema and its visions on gender and its reverberation and how it resonate the modern world in the cultural and political landscape of the present New Zealand and modern people. Maori culture of New Zealand also plays a big role in this novel and cinema. It connects its people both with each other and with the land. In the cinematic version we can see the traditional story is incorporated into the modern setting. The film used so many strategies, these includes extending the myth, re-applying it, or subverting it. But both film and the cinema tries to convey the main social issue the function of woman in a world controlled by men.
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Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.

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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.
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Patel, Nilam. "Walking between two worlds: Bollywood cinema and the New Zealand-Indian identity." South Asian Popular Culture 19, no. 1 (January 2, 2021): 67–70. http://dx.doi.org/10.1080/14746689.2021.1879155.

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Cass, Philip. "REVIEW: Noted: Study of diasporic film making raises intriguing questions." Pacific Journalism Review : Te Koakoa 26, no. 1 (July 31, 2020): 322. http://dx.doi.org/10.24135/pjr.v26i1.1114.

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Migrant and Diasporic Film and Filmmaking in New Zealand, edited by Arezou Zalipour. Singapore: Springer Nature, 2019. 209 pages. ISBN 9789811313783. IF PEOPLE think about diasporic cinema in New Zealand, they probably think about comedies like Sione’s Wedding or Curry Munchers or web series like Flat3. What they all have in common is an attempt to portray different aspects of a particular diasporic community’s life from the inside. Some films have been more successful than others; some exist only online or at film festivals.
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Dissertations / Theses on the topic "New Zealand cinema"

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Ashton, Romana, and darkroom@optus com au. "Antipodean Gothic Cinema: A Study of the (postmodern) Gothic in Australian and New Zealand Film since the 1970s." Central Queensland University. Humanities, 2006. http://library-resources.cqu.edu.au./thesis/adt-QCQU/public/adt-QCQU20060921.111449.

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Although various film critics and academics have located the Gothic in Antipodean cinema, there has been no in-depth study of the Gothic and its ideological entanglements with postmodernism within this cinema. This study is divided into two parts and locates the (postmodern) Gothic in twelve Australian/New Zealand films ranging from Ted Kotcheff’s Wake in Fright (1971) to Peter Jackson’s Heavenly Creatures (1994). Part one theorizes the Gothic as a subversive cultural mode that foreshadows postmodernism in terms of its antithetical relationship with Enlightenment ideals. Interconnections are made between proto-postmodern aspects of early Gothic literature and the appropriation and intensification of these aspects in what has been dubbed the postmodern Gothic. The dissertation then argues that the Antipodes was/is constructed through Euro-centric discourse(s) as a Gothic/(proto)-postmodern space or place, this construction manifest in, and becoming intertwined with the postmodern in post 1970s Antipodean cinema. In part two, a cross-section of Australian/New Zealand films is organized into cinematic sub-genres in line with their similar thematic preoccupations and settings, all films argued as reflecting a marked postmodern Gothic sensibility. In its conclusion, the study finds that “Antipodean Gothic cinema”, particularly since the 1970s, can be strongly characterized by its combining of Gothic/postmodernist modes of representation, this convergence constitutive of a postmodernized version of the Gothic which is heavily influenced by Euro-centric constructions of the Antipodes in Gothic/(proto)-postmodern related terms.
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Kontour, Kyle, and n/a. "Making culture or making culture possible : notions of biculturalism in New Zealand 1980s cinema and the role of the New Zealand Film Commission." University of Otago. Department of Communication Studies, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.140943.

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In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in which this desire was manifested was in the establishment of the New Zealand Film Commission (NZFC). This government sponsored body corporate was designed to provide an infrastructure for New Zealand filmmaking, through which New Zealand and New Zealanders could be represented. As a result, New Zealand filmmaking boomed during the early to mid-1980s. Significantly, this boom occurred simultaneous to the increasing relevance and importance of notions of biculturalism, both in cultural and socio-political terms. The question that drives this thesis is how (or whether) biculturalism was articulated in the explicit or implicit relationships between cultural debates, governmental policies, the NZFC�s own policies and practices and its interaction with filmmakers. This thesis examines the ways in which aspects of the discourse of biculturalism feature in New Zealand cinema of the 1980s in terms of the content, development, production and marketing of three films of this era that share particular bicultural themes and elements: Utu (Geoff Murphy, 1983), The Quiet Earth (Geoff Murphy, 1985) and Arriving Tuesday (Richard Riddiford, 1986). This thesis also examines the role of the NZFC in these processes as prescribed by legislation and in terms of the NZFC�s own policies and procedures. This thesis consults a variety of primary and secondary sources in its research. Primary sources include film texts, public documents, archival material, trade journals, and interviews with important figures in the New Zealand film industry. Conclusions suggest that the interaction of numerous socio-historical factors, and the practices and policies of the NZFC, denote a process that was not direct in its articulation of notions of biculturalism. Rather, this involved an array of complex cultural, fiscal. industrial, professional and aesthetic forces.
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Baker, Michelle Mary. "Policing Publications: Sites of Censorship Classification Enforcement in New Zealand." Thesis, University of Canterbury. Sociology and Anthropology, 2006. http://hdl.handle.net/10092/916.

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This thesis focuses on the work of policing, regulating and monitoring of New Zealand public censorship classifications. It follows the processes and agents involved in the day-to-day practices of the enforcement of the classifications given to objects by the Office of Film and Literature Classification. Responsibility for the enforcement of the classification decisions of the Office is delegated to private agents and agencies involved in supplying audiences with classified media products - cinemas, video stores, bookstores and libraries. The thesis also documents enforcement undertaken directly by public agents of the Censorship Compliance Unit. In this case enforcement is concerned with unclassified publications circulating on the Internet. The thesis argues that the networks of agents assembled for the practices of enforcement evolve as the forms of media evolve or change. The thesis focuses on the modes of interaction between agents, media and publics enacted in the different sites of the cinema, the bookstore, the video store, the library and the Internet. It documents the work of enforcement involved in the purchase of images for a fixed period of time in the fixed site of the cinema; the purchase of books from the fixed site of the bookstore; the hire of video films and video games from the fixed site of the video store; and the borrowing of books and videos from the fixed site of the public library. It contrasts the work of enforcement in these different sites with the development of new work practices involved in the interactive, fluid and seemingly intangible yet still policed site of the Internet. It documents how the responsibilities for, and the practices of, enforcement shift between public sites of enforcement to the increasingly difficult public monitoring of the private consumption of images distributed through the media of the Internet. It pays attention to how different methods and strategies of enforcement have been developed in response to both the classification and consumption of the expanding variety of mobile media and the proliferation and consumption of images in the unclassified and fluid world of the Internet.
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Scrivin, Nicholas. "'The Bobby Calf' - non linear and non classical narrative structures in the cinema of unease." Click here to access this resource online, 2008. http://hdl.handle.net/10292/688.

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This document outlines the research, development and production of a creative work and accompanying exegesis in partial fulfilment of the requirements for the Master of Communication Studies (MCS) programme. It includes the first draft of a feature film screenplay and an exegesis that explores the research conducted, the theoretical context of the work, and analyses the screenwriting process undertaken. The Bobby Calf (2008) is the first draft of a feature film screenplay that uses a non-classical and non-linear narrative structure to tell the story of its main characters and advance the plot. A psychological drama set in rural New Zealand, The Bobby Calf (2008) was originally inspired by the Janet Frame short story The Reservoir (1963), a story based on a group of youngsters who venture forth to discover the forbidden reservoir; a place their parents had forbid them from going. Set in the outskirts of a small farming settlement, the story is a dark and gothic depiction of rural life and the harshness of reality faced by those brought up in a lifestyle they did not choose. The story focuses on the journey of ADAM (21); both as a young boy in 1988 (called JOHNNY) and as a young adult in 1997, and his mother CATH; a woman whose dreams and aspirations for her son and indeed her own life are slowly slipping away. The story centres on Adam as he grows more uncomfortable with how his life has ended up, and his discovery that the life he has been destined to fulfil is not the one he has chosen. Accompanying the screenplay is an exegesis that explores the research conducted previously on the history of non-classical/non-linear narrative structures and the rationale behind the success and limitations of this now-popular form of storytelling. These types of narrative structures are not a new phenomenon, and as many authors have attested, the basis of this form of storytelling is rooted in the history of screenwriting and film making, and borrows many techniques from theatre and literature.
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Edmunds, Hannah. "Perversion of the reel : a thesis presented in partial fulfilment of the requirements for the completion of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1271.

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Through the use of masculinity as a visual language this research aims to unravel the divide between the role of the act and the acted. French actor Julien Boisselier operates as the male manifestation of the actor in question and functions on multiple levels of performance, both as male and as an actor. Boisseliers depictions of major, medium and minor acted characters offer another level to the performance variable. The aim to highlight the visible triggers of a ‘pure performance’ (a performance where the actor may slip or falter out of acted character and into default human performance) as shown through the choreography of his physiognomy is the experience underpinning this thesis.
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Denton, Frances Louise. "The form of identity in virtual space : a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2010. http://hdl.handle.net/10179/1267.

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Within constructed spaces our identities are evident in our interaction with objects, language and practice. The spaces that are understood as "virtual" are additions to an environment we have to locate our bodies within. Objects of technology, an engagement with language or a practice of art utilise our bodies as the zero point for experience of space. "Virtual space" is constructed through the use of objects we associate with the idea of "virtual space" such as consoles, computers and phones. The critical evaluation of virtual space has battled with the idea of the "disincarnated" experience of content, where the body is not the starting point. Virtual space is populated by objects that have physical form. Much like the impossibility of a person surviving on information alone it has become evident that the idea of a virtual disembodied utopia must come back down to earth. The discussion of the form of our identity in virtual space has had to redefine what virtual is, and how form can participate in constructing space. The discussion of form has had to contextualise a concrete practice and a beginning point within the body. The ideas and theories of Lakoff and Johnson, Carr, Talbolt, Fei, Dibble, Rendell, Turkle, Barthes, Davies, Sontag, Hockney, and Merleau-Ponty are evidence that there is an embodied point of view and human experience of "virtual" space. This thesis will use concrete spatial strategies of an artistic and auto-ethnographic practice to show that virtual space and the form of identity are concrete components of everyday environments. Form plays pivotal role in deconstructing or constructing space. Through the use of panorama, as an object of technology as well as a strategy, space is constructed using form. The term avatar used to discuss the "form" of identity in virtual spaces, and in particular what we currently recognise as "online" software driven, or connective virtual spaces. I have recognised that virtual space as not separate but augmentative and I will discuss how the avatar has been utilised within my practice to define virtual space as augmentative to everyday spaces.
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Robespierre, Claire de. "La renaissance du mythe d'Anzac dans l'Australie contemporaine : la représentation de la Grande Guerre dans les films de cinéma et de télévision des années quatre-vingt et son emprise sur l'imagination nationale." Paris 4, 1996. http://www.theses.fr/1996PA040069.

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Né dans les tranchées de la Première Guerre Mondiale, Anzac est le plus grand mythe de l’Australie blanche. La participation des troupes de l'Anzac (Australian and New Zealand Army Corps) au conflit a marqué la véritable naissance de la nation et a laissé une empreinte indélébile dans la conscience australienne. La fascination exercée par ANZAC sur l'imagination nationale a été particulièrement évidente dans les années quatre-vingt, durant lesquelles plusieurs films de cinéma et de télévision ayant la Grande Guerre pour sujet ont été produits. Ces représentations obéissent à une volonté commune de réillustrer le mythe dans sa forme traditionnelle et de résister à la démythification, révélant l'état d'esprit de l’Australie durant cette période
Born in the trenches of World War I, Anzac is white Australia’s greatest myth. The involvement of troops from the Anzac (Australian and New Zealand army corps) in the conflict is considered as the turning point in the nation's history and has made a lasting impression on the Australian consciousness. The fascination which Anzac exerts on the national imagination was particularly obvious in the 1980's, when the great war was the subject of a few films and television series. These portrayals show a common will to reillustrate the myth in its traditional form and to resist demythification, thus revealing Australia’s state of mind during this period
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Pratt, Caroline. "Factors affecting the establishment, growth and survival of native woody plant communities on the Canterbury Plain, New Zealand." Lincoln University, 1999. http://hdl.handle.net/10182/1113.

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The native plant communities of Canterbury, South Island, New Zealand have been severely modified and degraded and the Canterbury Plain (750,000 ha) retains few remnants of its original forest and other ecosystems. The research presented here considers the mutualistic roles of exotic and indigenous species in the process of restoring degraded landscapes. Exotic species may have an important role in the (re) establishment of desired indigenous species, and may influence succession through to a forest dominated by them. One aspect of this work describes indigenous plant community regeneration facilitated by exotic willow (Salix spp.) woodland on the Canterbury Plain. Natural colonisation of the willow woodland by native plants was investigated, with respect to variation in the physical environment in the willow stand. Key factors in the success of willow woodland as a nursery for regeneration of native vegetation include: distance to the nearest seed source, the ability to attract seed dispersers (recruitment only occurred under perch sites), flooding potential (higher recruitment in areas less likely to flood) and possibly light availability. Control of vertebrate (and invertebrate) herbivory is also necessary for successful restoration. A second aspect was a field experiment in open pasture and in a non-native remnant woodland which was then used to investigate the effects of shelter, plant spacing, mulching and fertiliser on growth and survival of planted native woody species. With minimal management, the selected mid-late successional plants established poorly in the open pasture and had low survival rates (e.g.,Dacrycarpus dacrydioides, Pseudopanax arboreus, Aristotelia serrata, Melicytus ramiflorus). Only narrow-leaved species (e.g., Plagianthus reg ius, Hoheria angustifolia, Hebe salicifolia, Cordyline australis) survived this open pasture planting. In contrast, most species (broad and narrow-leaved) established under the sheltered sites. Exotic nursery vegetation and the establishment of native species, which will, in time, act as a seed source, will be important in successfully restoring a sustainable indigenous element in the cultural landscape of Canterbury. Ecological restoration requires an integrated approach, identifying and understanding the component processes of regeneration, and of the particular aspects/characteristics of the sites involved. This research shows that naturally established plants where existing shelter is available (in this case established willows) tend to have higher growth rates than individually planted plants in open situations, and that the availability of a suitable seed source can also contribute to successful establishment and growth rates. The meeting of restoration targets on the Canterbury Plain may be accelerated, and costs reduced, through the utilisation of areas where exotic species occur (for instance, extensive willow stands in riparian areas adjacent to waterways) and more particularly, where a local seed source is also available. The findings of this research can contribute to restoration management in helping identify the best practices, based on research, that can lead to the restoration of original plant and animal communities.
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Blachnitzky, Angela. "Designing typozilla : an online application that appeals to gifted children : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1241.

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This thesis responds to the specific educational and social needs of gifted children within the context of online applications. Online enrichment activities and social opportunities are only successful if they are able to attract and sustain attention of the advanced interests of gifted children. The aim of the research is to design an online application that appeals to gifted children and recognises the identified intellectual and social needs within the New Zealand context. This was achieved through research through design by establishing a design strategy that uses the findings of investigations and applies them to a prototype application. Developers of online content for gifted children may benefit from this research. As an initial investigation a survey was conducted about how gifted New Zealand primary school children are using online applications. It was assumed following the literature review that online applications would appeal to gifted children if they teach a new skill, have multiplayer functionality and address higher order thinking skills. Basic design characteristics of the most popular gaming websites amongst gifted children (from the survey) were then used to inform the design strategy and to develop the prototype online application typozilla. Key findings were retrieved through observation of gifted children using typozilla. The majority of children observed were especially enthusiastic seeing other players’ avatars within multiplayer areas and competing against each other. They enjoyed learning a new skill (which was touch-typing) and engaging in creative tasks. In interviews all gifted children confirmed that they perceived the typozilla design as appealing.
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Marriott, Tanya. "Storytelling memories : a tangible connection to bomber command veterans : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Design at Massey University, Wellington, New Zealand." 2009. http://hdl.handle.net/10179/1045.

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As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran.
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Books on the topic "New Zealand cinema"

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New Zealand cinema: Interpreting the past. Bristol, UK: Intellect, 2011.

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1950-, Vieth Errol, ed. Historical dictionary of Australian and New Zealand cinema. Lanham, Md: Scarecrow, 2005.

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Helen, Martin. New Zealand film, 1912-1995. Auckland: Oxford University Press, 1996.

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Moran, Albert. The A to Z of Australian and New Zealand cinema. Lanham: Scarecrow Press, 2009.

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Jane Campion: Authorship and personal cinema. Bloomington: Indiana University Press, 2011.

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Rayner, Jonathan. Cinema journeys of the man alone: The New Zealand and American films of Geoff Murphy. Nottingham: Kakapo, 1999.

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Images of dignity: Barry Barclay and fourth cinema. Wellington, N.Z: Huia, 2008.

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Celluloid Anzacs: The Great War through Australian cinema. North Melbourne, Vic: Australian Scholarly Pub., 2007.

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Making settler cinemas: Film and colonial encounters in the United States, Australia, and New Zealand. New York: Palgrave Macmillan, 2010.

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Making settler cinemas: Film and colonial encounters in the United States, Australia, and New Zealand. New York: Palgrave Macmillan, 2010.

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Book chapters on the topic "New Zealand cinema"

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Kolesova, Elena. "Two “Asian” Stories in New Zealand Cinema." In The Palgrave Handbook of Asian Cinema, 451–66. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_22.

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Yates, Candida. "The Piano: A Feminine Narrative of Masculine Jealousies (J. Campion, Australia/New Zealand, 1993)." In Masculine Jealousy and Contemporary Cinema, 124–40. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230592926_8.

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Meek, Allen. "The Past Awaits: Migrant Histories and Multidirectional Memory in the Cinema of Vincent Ward." In Migrant and Diasporic Film and Filmmaking in New Zealand, 35–49. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-1379-0_2.

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Thornley, Davinia. "“A Space Being Right on That Boundary”: Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema." In Cinema, Cross-Cultural Collaboration, and Criticism, 74–102. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137411570_4.

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Hjort, Mette, and Duncan Petrie. "New Zealand." In The Cinema of Small Nations, 160–76. Edinburgh University Press, 2007. http://dx.doi.org/10.3366/edinburgh/9780748625369.003.0010.

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Watson, Chris. "New Zealand Film Censorship." In Contemporary New Zealand Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9780755697151.chapter5.

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Hardy, Ann. "Beyond Materialism?:Spirituality and Neo-Utopian Sensibility in Recent New Zealand Film." In Contemporary New Zealand Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9780755697151.chapter8.

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Waller, Gregory A. "The New Zealand Film Commission:Promoting an Industry, Forging a National Il." In Contemporary New Zealand Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9780755697151.chapter1.

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Goldson, Annie, and Jo Smith. "The Contested Nation:Documentary and Dissent." In Contemporary New Zealand Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9780755697151.chapter10.

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Murray, Staurt. "’Precarious Adulthood’:Communal Anxieties in 1980s film." In Contemporary New Zealand Cinema. I.B.Tauris, 2018. http://dx.doi.org/10.5040/9780755697151.chapter11.

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Conference papers on the topic "New Zealand cinema"

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Campbell, R. A., B. L. Chilvers, S. Childerhouse, and N. J. Gales. "Conservation management issues and status of the New Zealand (Phocarctos hookeri) and Australian (Neophoca cinerea) sea lion." In Sea Lions of the World. Alaska Sea Grant, University of Alaska Fairbanks, 2006. http://dx.doi.org/10.4027/slw.2006.29.

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You might also be interested in the extended bibliographies on the topic 'New Zealand cinema' for particular source types:
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