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Books on the topic 'New Zealand cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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Consult the top 29 books for your research on the topic 'New Zealand cinema.'

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

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

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12

Conrich, Ian. New Zealand Cinema. Edinburgh University Press, 2015.

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13

Conrich, Ian. New Zeland Cinema. Edinburgh University Press, 2014.

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14

Mayer, Geoff, and Keith Beattie. Cinema of Australia and New Zealand. Columbia University Press, 2007.

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15

Geoff, Mayer, and Beattie Keith 1954-, eds. The cinema of Australia and New Zealand. London: Wallflower Press, 2007.

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16

Geoff, Mayer, and Beattie Keith, eds. The cinema of Australia and New Zealand. London: Wallflower Press, 2007.

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17

Ian, Conrich, and Murray Stuart 1967-, eds. Contemporary New Zealand cinema: From new wave to blockbuster. London: I.B. Tauris, 2008.

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18

Mayer, Geoff, and Keith Beattie. The Cinema of Australia & New Zealand (24 Frames). Wallflower Press, 2006.

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19

(Editor), Geoff Mayer, and Keith Beattie (Editor), eds. The Cinema of Australia & New Zealand (24 Frames). Wallflower Press, 2006.

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20

Moran, Albert, Karina Aveyard, and Errol Vieth. Historical Dictionary of Australian and New Zealand Cinema. Rowman & Littlefield Publishers, Incorporated, 2016.

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21

New Zealand Film, 1912-1996. Oxford University Press, USA, 1998.

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22

Fox, Alistair. Coming-Of-Age Cinema in New Zealand: Genre, Gender and Adaptation. Edinburgh University Press, 2019.

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23

Coming of Age Cinema in New Zealand: Genre, Gender and Adaptation. Edinburgh University Press, 2017.

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24

Directory Of World Cinema. Intellect (UK), 2012.

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25

Cinema and the Imagination in Katherine Mansfields Writing. Palgrave Macmillan, 2014.

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26

Fox, Alistair. Desperation Turned Outwards: Heavenly Creatures (Peter Jackson, 1994). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0009.

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This chapter locates Peter Jackson’s Heavenly Creatures in the context of other New Zealand coming-of-age films by showing how it identifies the repressive effects of New Zealand puritanism and resentment of the authoritarian practices of mid-twentieth-century society as the causes of the tragic matricide the two teenaged girl protagonists commit. It also demonstrates the genre-mixing that Jackson believes is characteristic of New Zealand cinema, as well as the impulse to seek refuge in a fantasy world that links this film to other films discussed in this volume, such as An Angel at My Table, 50 Ways of Saying Fabulous, and Boy.

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27

Fox, Alistair. Conclusion. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0018.

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The conclusion reaffirms the essential role played by cinema generally, and the coming-of-age genre in particular, in the process of national identity formation, because of its effectiveness in facilitating self-recognition and self-experience through a process of triangulation made possible, for the most part, by a dialogue with some of the nation’s most iconic works of literature. This section concludes by point out the danger posed, however, by an observable trend toward generic standardization in New Zealand films motivated by a desire to appeal to an international audience out of consideration for the financial returns expected by funding bodies under current regimes.

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28

Making Settler Cinemas: Film and Colonial Encounters in the United States, Australia, and New Zealand. Palgrave Macmillan, 2010.

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29

Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.

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The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into dialogue with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall) and cinema (Rohmer, Haneke, Tarantino), The Planetary Clock enlarges our understanding of global postmodernism for the twenty-first century.

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