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Dissertations / Theses on the topic 'New Zealand cinema'
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1
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 Kotcheffs Wake in Fright (1971) to Peter Jacksons 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 périodeBorn 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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Rajala, Tero Markus. "Lives unremembered : the Holocaust and strategies of its representation : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand." 2008. http://hdl.handle.net/10179/756.
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The Holocaust is a subject that seems to defy artistic representation by way of its sheer scale of tragedy and subsequent trauma. As I will demonstrate in this paper, it is hard to restore visibility – pictorial links between past and present realities – to crimes that have been deliberately submerged by its perpetrators. I will examine some of the common strategies used in representation of the victims of the Holocaust since the end of the Second World War, in the mediums of film and photography. As my main method of enquiry, I will examine three films from different eras, and of very different approaches in terms of their processing of the proposed original evidence, as examples to illustrate my arguments. In the second chapter Alain Resnais's documentary film Nuit et Brouillard (Night and Fog) is analyzed as a birthplace of the so-called iconography of the Holocaust. Chapter three examines workings of memory through the aesthetic form that was soon to follow; the role and testimony of the survivors is considered through Claude Lanzmann's Shoah. In the fourth chapter a new player is introduced: the second generation witness of postmemory, works of transmitted but unexperienced realities. In this chapter I will closer examine the workings of art in the game of reprocessing the evidence of the Holocaust, and through Dariusz Jablonski's film Fotoamator I aim to critique how the previously discussed approaches serve to further lock the Holocaust in an inaccessible canon. Moreover, the generalization implied – a drive toward universalization of the Holocaust as an idiom or even a metaphor for the dark sides of human history/character – derives from problems of representation; mainly that of anonymity in face of the proposed beauty of the spectacle, of tragedy and suffering in mass-media. A key problem is that any historical document, however we define one, is considered transparent and unmediated, whereas art is clearly something where a degree of mediation is necessarily recognized. In the face of this dichotomy it seems that all the collected "proof" of the Holocaust – witness accounts" photographs" films" material remains – achieves, is to stregthen the prevailing version of history.
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Pittar, Luke. "Public prototyping : a participatory design process exploring the application of co-creative sketching : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, Institute of Communication Design, College of Creative Arts, Wellington, New Zealand." 2010. http://hdl.handle.net/10179/1340.
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The objective of this research is to demonstrate that co-creative sketching as a part of the participatory process has the potential to support the developmental nature of a visual communication tool used to promote the exchange of experience. The tool is intended to create an informative hub that influences a travellers experience of a location. Ethnographic research as reflective sketching was conducted in the Tongariro National Park. Within this setting reflective sketching located the kitchen and common area of traveller specific accommodation as an ideal collaborative environment to conduct participatory design research. In this collaborative environment snowboarders and skiers who are aged between 20-30 years are identified as the target audience. This specific audience participated in co-creative sessions throughout the design process, resulting in the participatory design of the tool. The design aim of the visual communication tool was to promote the exchange of experience between snowboarders and skiers about a specific location. This was achieved by adapting generative tools made up of a visual language which supported the word of mouth exchange and individual expression. The exchange of experiences was facilitated by co-creative sketching with the visual language during a state of play. Playful co-creative sketching supported word of mouth dialogue between the snowboarders and skiers in a way that co-created an informative visual representation of the dialogue or contextmap. The resulting contextmap represented an image for experience which was beyond an individuals conception and made individuals tacit-knowledge accessible to audiences within and outside the moment of exchange, creating an informative hub which influenced the specific audiences view of experience for a location. An action research methodology is used during the course of this research, informed by the approaches of co-creation, context-mapping and generative tools. These approaches constructed a theoretical framework for the participatory development and co-creative sketching of the communication tool. This supportive thesis discusses the context, the theoretical concepts and provides an in depth account on the research through design process; the week-by-week participatory process undertaken to develop the visual communication tool.
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Steinert-Lieschied, Oliver. "Ende des neuseeländischen Kinos?" Doctoral thesis, 2016. http://hdl.handle.net/11858/00-1735-0000-002B-7CDB-A.
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Neuseeland ist eine junge postkoloniale Nation, die sich erst nach einem langwierigen Nation Building-Prozess von England loslöste und weiterhin eine vergleichsweise instabile nationale Identität aufweist. Die Globalisierungsprozesse, die sich durch die Digitale Revolution zusätzlich verschärft haben, haben in den letzten Jahrzehnten für Neuseeland als Nation und für die neuseeländische Filmindustrie weitreichende und paradoxe Folgen gehabt: Einerseits hat der finanzielle und kritische Erfolg der Lord of the Rings-Trilogie, die zu einem großen Teil in Neuseeland gedreht wurde, aber zugleich auch sehr stark digital manipuliert worden ist, zu einem demonstrativ zur Schau gestellten Nationalstolz geführt – was auch als „Renationalisierung“ bezeichnet werden kann, d.h. als etwas, das nationale Konstrukte in ihrer Funktion bestärkt. Andererseits resultiert diese Renationalisierung aus dem Erfolg einer Filmtrilogie, deren Status als „neuseeländischer“ Film aufgrund ihres stark transnationalen Produktionshintergrundes umstritten ist. Filme wie The Piano und Whale Rider, deren Status als neuseeländische Filme kaum infrage gestellt wird, haben Neuseeland zwar globale Bekanntheit eingebracht, aber erst die oben genannten Blockbuster Filme, die inhaltlich nichts mit Neuseeland zu tun haben, haben die nationale Identität Neuseelands nachhaltig verändert: Seitdem vermarktet sich Neuseeland gezielt als filmtouristisches Reiseziel und als wichtiger Standort für Filmproduktionen (als Drehort [englisch: location] sowie für die Postproduction). Im ersten Kapitel sollen daher folgende Fragestellungen erörtert werden: Was für Auswirkungen hat der Globalisierungsprozess konkret auf das Konzept eines „nationalen neuseeländischen Kinos“ gehabt? Inwiefern hat diese Kategorie in Zeiten transnationaler Filmproduktionen noch eine Berechtigung? Muss etwa von einem „Ende“ des neuseeländischen Kinos gesprochen werden?
Da die neuseeländische location eine wichtige Rolle in der Einstufung eines Films als „neuseeländischer“ Film spielt, wird sich das zweite Kapitel, das den Hauptteil dieser Arbeit darstellt, im Rahmen einer filmgeografischen Analyse mit der Rolle der neuseeländischen location in Filmen mit nicht-neuseeländischem Handlungsort beschäftigen. Filme mit neuseeländischem Handlungsort (bis auf die beiden Ausnahmefälle The Piano und Whale Rider) sind nur von einer kleinen Zuschauerzahl rezipiert worden. Hollywood-Blockbuster wie Last Samurai, Lord of the Rings und The Hobbit, die allesamt on location in Neuseeland gedreht wurden, haben hingegen eine ungleich höhere Zuschauerschaft erreicht. Allerdings wird in diesen runaway-Produktionen die neuseeländische location nur „indirekt“ rezipiert, da sie als Projektionsfläche für einen stets nicht-neuseeländischen, zumeist mythischen, archaischen oder nostalgischen Handlungsort dient, was als „Delokalisierung“ bezeichnet werden soll: Durch Delokalisierung wird die location ihrer „Neuseelandspezifizität“ in großen Teilen beraubt und mit Landschaftsmarkern, die für den jeweiligen Handlungsort als spezifisch erachtet werden, „maskiert“, um den Handlungsort glaubwürdig und geografisch kohärent erscheinen zu lassen. Zudem steht die Fähigkeit, glaubwürdige Welten digital zu generieren, in einem Spannungsverhältnis zu der „Fähigkeit“ der neuseeländischen location, als glaubwürdige, „authentische“ Projektionsfläche für ebendiese Welten zu fungieren. Aus den vorgenannten Überlegungen ergeben sich folgende Fragestellungen: Welche Attribute besitzt die neuseeländische Landschaft, die Filmemacher dazu bewegt, sie als „authentische“ location und Projektionsfläche für nicht-neuseeländische Handlungsorte einzusetzen und wie wird dies von Zuschauern bewertet? Wenn für die Simulation fantastischer Welten immer mehr auf digital generierte Landschaften zurückgegriffen wird, bedeutet dies dann neben dem im ersten Kapitel angeführten Ende des neuseeländischen Kinos gleichzeitig auch das Ende der neuseeländischen location? Und welche Folgen hat diese Verdrängung neuseeländischer locations für den neuseeländischen Filmtourismus?
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West, Amy. "Here & now: intimacy, immediacy and authenticity in New Zealand's reality television." 2006. http://hdl.handle.net/2292/4232.
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ABSTRACT This thesis analyses a range of reality television programmes produced in New Zealand as part of a wider investigation into the affective strategies and discursive practices of the medium of television itself. The capacity of television, and more specifically reality television, to bring things close and render them present - spatially, temporally, socially and emotionally – is the thematic fulcrum of this study. Closeness is variously interpreted here as proximity (in terms of space, geography or social position), co-incidence (in terms of time) and intimacy (in terms of emotional affect). The present-ness of reality programming is both temporal (occurring now, in the present tense) and physical (occurring here, in this body, in this home, in this country). It is through this affect of present-ness that reality television most clearly engages with the domain of the real. Thus, this study also turns upon a consideration of the various significant ways in which reality television defines, pursues and manifests moments of realness on screen. The thesis is broken down into two parts, entitled Here and Now respectively, reflecting the double axis of spatial (incorporating social) and temporal present-ness. Within this bi-partite structure, six chapters focus in turn on a number of different discursive threads: Viscerality, Ordinariness, Community, Amateurism, Intimacy and Temporal Immediacy, producing a cumulative theoretical framework through which to address reality TV. In terms of methodology, this thesis pursues its exploration of reality television through close textual readings of selected programmes which have been produced for a New Zealand audience. Where appropriate, however, it draws on international examples of reality programming, in particular, those high-profile formats from Europe and the United States which have generated new paradigms for the production and reception of reality television worldwide. In addition, this thesis analyses programme form and content through a range of theoretical frameworks drawn from television studies and other academic disciplines. It also seeks to engage with international critical and academic debates surrounding the often controversial rise of reality programming as a televisual phenomenon in the nineties and into the twenty-first century. The production of this thesis coincides with a surge in academic output on the subject of reality television, and has benefited from recent publications in this area. This thesis attempts to balance both general and specific interests in New Zealand’s reality programming. On one hand, it places reality television within the context of long-established, international academic discussions about television as a medium, with the intent of showing that reality programming has an innate applicability to the domestic medium out of which it has arisen. On the other, this thesis pursues a more specific project, as it considers locally-produced programming as the particular output of the island nation of New Zealand. In this case, I argue that the particular aesthetic and discursive practices of reality programming, which devolve upon the ordinary, the domestic and the local, are well-suited to the ongoing production of culture and identity in a settler nation such as New Zealand.
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Richardson, Kate Mackinnon. "Reintroducing hihi (Notiomystis cincta) to the New Zealand mainland : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Science in Ecology at Massey University, Palmerston North, New Zealand." 2009. http://hdl.handle.net/10179/1316.
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This thesis investigated the potential for establishing a self-sustaining population of an endangered forest bird, the hihi (Notiomystis cincta) on the New Zealand mainland, and the factors that may influence this. Previous reintroduction attempts, mostly to offshore islands, have met with limited success, or been dependent on ongoing management. However, future conservation measures for hihi aim to reintroduce populations to the mature forest found on the mainland that hihi may be best adapted to. Such reintroductions come with new challenges for hihi conservation. The first reintroduction of hihi to this environment occurred with two releases of hihi from Tiritiri Matangi Island to “Ark in the Park”, a predator-controlled site in Auckland’s Waitakere Ranges, in February and June 2007. This study reports on the survival and dispersal of hihi following these releases, using radio transmitters for post-release monitoring, and also gives information on the vulnerability of hihi to predators, and foraging behaviour at this site. In terms of survivorship, birds released in February had higher apparent survival than those released in June, but this may have been due to higher dispersal in June. Birds released under a “delayed-release” strategy had lower long-term survival than those released immediately. There was some evidence that transmitters may have had an impact on dispersal and behaviour, but there was no evidence that transmitters reduced survival. Individuals in better condition were more likely to disperse further in the first week postrelease, but it was not possible to examine the relationship between condition and survival. Clutch size and hatching date were the two most influential factors found to affect individual condition in juvenile hihi from Tiritiri Matangi Island. It may be possible to use this information when selecting individuals for future translocations, but the impact on the source population should first be investigated, as well as the relationship between condition and survival. The failure of previous hihi reintroductions has in part been attributed to a lack of diversity of natural food in regenerating forest, and all successfully reintroduced populations to date rely on supplementary food. However, little is known about how the diet of hihi changes at different life stages, between the sexes, by season and in different habitats. In this study, such information was provided for the first time for hihi using stable isotope analysis. I found evidence for dietary shifts across different life stages (nestling, fledgling, juvenile and adult), between the sexes, and in different habitats (regenerating forest vs mature forest), and I showed that diet may be one of the proximate factors influencing individual condition.
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Van, Herpt Sarah Michelle. "Effects of translocation on kokako (Callaeas cinerea wilsoni) song and its application to management : a thesis presented in partial fulfilment of the requirements for the degree of Master of Science in Conservation Biology at Massey University, Palmerston North, New Zealand." 2009. http://hdl.handle.net/10179/1355.
Full textAbstract:
This thesis fills a research gap in our knowledge of kokako song by looking at how song evolves in multi-dialect areas. Kokako only exist in small remnant populations separated by large tracts of unsuitable land. Kokako are very poor flyers, only able to fly for approximately 100 metres at a time. In order to prevent inbreeding and a loss of genetic diversity in the remaining kokako populations, managers are carrying out translocations to establish new populations, maintain gene flow and prevent inbreeding. However, these translocations have the potential to be unsuccessful because kokako exhibit macrogeographic variation in their dialects, and tend not to breed with individuals who do not share the same dialect as them. If the purpose of the translocation is to enhance genetic diversity by having kokako from different areas breed then song is an important factor that must be dealt with. Song is extremely important to kokako for a number of reasons. Chiefly, it is hypothesised that song is their primary means of territory defence. A kokako gains all its resources from its territory, so it is imperative that they successfully defend it. Their duet song functions in territory defence, but also acts to form and maintain pair bonds. In order to try and address the problem that song causes in translocations I studied if and how song evolves in a multiple dialect area. I conducted research at Pukaha Mount Bruce, where there is a population of kokako originating from two different source populations, and thus two different dialects, Northern Mapara and Mangatutu. I looked at the Northern Mapara dialect, and recorded kokako belonging to three groups; kokako currently living in the source population, kokako that were translocated to Pukaha and kokako that were born at Pukaha. In order to determine how the song may be changing I looked at element repertoires, the levels of sharing between groups, the number of unique elements in repertoires and the syntactical and temporal characteristics of phrases. This study shows that translocation into multiple dialect areas can affect kokako song. Translocation did not affect the size of the kokako repertoire, but it seemed to affect the amount of sharing within and between different groups of kokako. Currently the level of sharing within the groups at Pukaha is lower than the level of sharing within the source Mapara population, indicating that the song may be diverging. There also seem to be more unique elements found at Pukaha, which in part explains the lack of sharing. There appears to be microgeographic variation at Pukaha, with birds clustered around the second (Mangatutu) dialect sharing less with the source population than do those kokako whose territories are lower down in the reserve. The phrases which are used are also evolving, with only one phrase truly shared among all groups. There are other phrases which show additions or deletions of elements, and so are evolving. The main change found in the phrases is the timing between elements, with six out of seven phrases examined showing changes. These results have repercussions for future kokako translocations, and the future of the Pukaha kokako. A low amount of phrase and element type sharing combined with changes of intra-phrase timing could lead to the Pukaha kokako’s inability to successfully defend their territories. This research shows how kokako song can give conservation managers information on the status of their populations in regards to interbreeding and raises questions which can be answered by further research, both at Pukaha and in other mixeddialect kokako populations.
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Rippon, Rosemary Jane. "Nestling mortality in a translocated population of hihi/stitchbirds (Notiomystis cincta) : a thesis presented in partial fulfilment of the requirements for the degree of Master of Science in Conservation Biology at Massey University, Palmerston North, New Zealand." 2010. http://hdl.handle.net/10179/1514.
Full textAbstract:
Nestling mortality in a reintroduced population of the endangered and endemic hihi/stitchbird (Notiomystis cincta) was investigated over one breeding season (2008-09) at Zealandia – Karori Sanctuary, New Zealand, to determine whether disease impacted on nestling survival. High rates of both hatching failure (56%) and nestling mortality (39%) in the first clutch made this the least successful breeding season since translocation in 2005. Overall 34% of eggs survived to fledge, compared to 52% and 58% in 2005-06 and 2006-07 respectively. Samples collected from 34 live and 25 dead nestlings were screened for evidence of disease. Bacterial and fungal pathogens were isolated from gastrointestinal swabs but there was no evidence of coccidia or other intestinal parasites in faecal samples. There was no evidence of significant abnormalities in the blood collected from hihi prior to fledging in the haematological parameters tested, and all blood samples were negative for malarial parasites. Tropical fowl mites (Ornithonyssus bursa) were found on nestlings and recovered from nest material in very small numbers. Sixty percent of nestling mortality occurred during the first 7 days of life, most often caused by starvation (16%) or poor pulmonary aeration (20%), and death was associated with seasonally low minimum daily temperatures below 11oC. Two older nestlings that died suffered from aspergillosis and an unidentified haemoparasite respectively. Seven nestlings (28%) aged 6-19 days died as a consequence of ventriculitis due to traumatic penetration by insect remnants identified as bee or wasp stings (Hymenoptera). The resulting granulomatous lesions were found in the gizzard mucosa, muscle layers and ventricular or intestinal serosa, and were associated with bacterial and/or yeast secondary infection. It was concluded that hihi may lack the evolutionary adaptations to safely consume introduced bees (Apis mellifera) and wasps (Vespula germanica, V. vulgaris) that are attracted to the feeding stations used to support reintroduced hihi populations. Histopathological examination showed candidiasis contributed to the deaths of four nestlings and Candida albicans was isolated from the gastrointestinal swabs of 13 live nestlings from four nest sites, eight of which survived to fledge. The potential of all pathogens may be increased by any cause of temporary or permanent immunosuppression and, in this establishing population, the majority of nestling deaths were associated with environmental conditions (temperature) and ecological factors (introduced prey). It is suggested that ongoing monitoring should include use of temperature data-loggers in hihi nest boxes, health screening of live nestlings, necropsy examination of dead birds, and spore counts to determine environmental levels of Aspergillus. Nest box insulation and/or heating could reduce the incidence of hypothermia in nestlings. A review of the carbohydrate provisioning protocols may reduce bee/wasp numbers and minimise the effect of Candida albicans at this site.