Journal articles: '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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Aveyard, Karina. "Introduction Going Digital: implications and opportunities for cinema in Australia and New Zealand." Studies in Australasian Cinema 3, no. 2 (January 2009): 151–54. http://dx.doi.org/10.1386/sac.3.2.151/7.

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Ryan, Mark David. "Putting Australian and New Zealand horror movies on the map of cinema studies." Studies in Australasian Cinema 4, no. 1 (January 2010): 3–7. http://dx.doi.org/10.1386/sac.4.1.3_2.

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Zvegintseva, Irina A. "The story of one crime: in life, in literature and in cinema." Journal of Flm Arts and Film Studies 11, no. 3 (November 13, 2019): 128–37. http://dx.doi.org/10.17816/vgik113128-137.

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Today, the name of the New Zealand filmmaker Peter Jackson is known throughout the world. His films The Lord of the Rings and The Hobbit received many awards, were a major commercial success and conquered millions of viewers' hearts, including the admirers of J. R. R. Tolkien, who followed the screen adventures of their favorite literary characters with bated breath. However, connoisseurs of cinema had closely followed the work of Jackson for many years before the films' release, for his early films above all, Heavenly Creatures, based on a monstrous real crime impressed by the complexity of chosen topics and the outstanding directorial skills. This essay analyzes Heavenly Creatures, exploring the reality of a terrible murder in a sleepy, little New Zealand town the murder which was largely disclosed through explicit entries in the diary of one of the criminals; and which became the basis for the film's plot. In no way justifying the criminals, Jackson, however, makes it clear that the incident was also the fault of the adults who did not see and did not want to see the difficult situation of their daughters. To ban, to punish such educational measures largely anticipated the tragic ending: harmless fantasies turned into a tragedy. The action of the film could take place in any town, and not only in New Zealand. The film's warning - don't be indifferent to your children was understood by all viewers, regardless of their country. The essay looks at how the film was made by an artist who knew how to combine and make this combination credible art house and commercial cinema, surrealism (and other aesthetics of shock) and hard realism.

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Rosen, Alan, Garry Walter, Tom Politis, and Michael Shordand. "From shunned to shining: doctors, madness and psychiatry in Australian and New Zealand cinema." Medical Journal of Australia 167, no. 11-12 (December 1997): 640–44. http://dx.doi.org/10.5694/j.1326-5377.1997.tb138920.x.

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Allen, Brenda. "The Man Alone, the Black Sheep and the Bad Apple: Squeaky Wheels of New Zealand Cinema." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 12, no. 2 (2011): 87–109. http://dx.doi.org/10.11157/medianz-vol12iss2id41.

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Ginsburg, Faye. "INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE." Sociologia & Antropologia 6, no. 3 (December 2016): 581–99. http://dx.doi.org/10.1590/2238-38752016v632.

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Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.

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Cooper, Annabel. "Empire, Nation, Tribe: The Imagined Communities of The Te Kooti Trail in New Zealand, 1927." Modernist Cultures 15, no. 3 (August 2020): 295–315. http://dx.doi.org/10.3366/mod.2020.0298.

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Benedict Anderson's concept of ‘imagined community’ is crafted around the work of the newspaper and the novel as the critical media through which peoples came to imagine themselves as nations in a modernising world. In this article I extend this inquiry to silent cinema, and specifically Rudall Hayward's The Te Kooti Trail, a modern artefact of a late colonial setting: the Bay of Plenty, New Zealand, in 1927. Hayward's nation-forming aim is explicit, but his apparent intentions and his community-centred practice of film-making created a film in which imperialist, nationalist and local concerns jostle for priority. This article first undertakes a textual analysis which investigates the discrepancy between an imperial, often paternalist narrative, and an aspirational, national ethos embodying kinship among different settler groups and Māori. Second, an archival and oral historical investigation into the production process reveals that the film's recreation of the past brought together iwi, or tribes, with diverse histories of negotiating with the new world of settler colonialism, and contrasting engagements with modernity. These histories can be read both on the screen, and in the brief censorship of the film before its release. The film provides a compelling case of diverse Māori engagement with nationhood-in-formation through the medium of film, both in the evidence of the text and in the circumstances of the film's production and release.

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Fahmi, Marwa Essam Eldin. "Peter Jackson’s King Kong (2005): A Critique of Postcolonial/Animal Horror Cinema." English Language and Literature Studies 7, no. 2 (May 30, 2017): 15. http://dx.doi.org/10.5539/ells.v7n2p15.

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The current study examines the fictional screen figure King Kong—as envisioned by the New Zealand director Peter Jackson in his 2005 remake—to question European ambivalence towards the Self/Other binary division. The modern 2005 Kong acts as a counter visual icon to the Eurocentric version of colonialist ideologies to expose their hypocrisy and myth-making colonial history. The present study is an attempt to integrate the visual narrative of King Kong (2005) into the framework of Postcolonial paradigm and within the theory of Adaptation to highlight the points of departure undertaken by the Postcolonial director Peter Jackson. The study seeks to establish Jackson’s revisit of a prior work as a “willful act” to reinterpret the screen figure Kong as a “Subaltern” subject whose quest for a voice is central to the film’s message. The dialogic relationship between the old and the new cinematic narratives is investigated to challenge Essentialist Western View of “Othering” so as to provide a Postcolonial revision of a fluid relationship between a prior work and a belated one. Thus, the aim of the present study is to deconstruct stereotypical representations, to historicize and contextualize Kong as a cultural and historical metaphor in Postcolonial Cinema. Animal Studies can offer new interpretations of how nonhuman animals can deconstruct the ontological Western discourses of rationality and capitalism within Postcolonial Cinema to rethink the boundaries that separate human and nonhuman.

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Simmons, Laurence. "Erewhon: Filming nowhere." Pacific Journalism Review 21, no. 2 (October 31, 2015): 33. http://dx.doi.org/10.24135/pjr.v21i2.114.

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Photographer Gavin Hipkins’ first feature film draws upon Samuel Butler’s anonymously published utopian satire Erewhon: Or, Over the Range (1872). It pairs a stream of evocative images with a voiceover narration from Butler’s text. In particular, it is in his exploration of Butler’s critique of the coming dominance of the machine in a post-industrial society that Hipkins’ film speaks to postcolonial New Zealand. Paradoxically, however, Hipkins employs the words of Butler’s text to free himself from the tyranny of narration and produce a film of continual interruptions, juxtapositions and breaks in perspective and mood. One moment we are asked to respond to the sublime grandeur of the New Zealand bush or mountainscape, the next to the banality of a rusted dripping pipe or a collection of car carcasses. Hipkins’ images acquire their power not because of their inherent qualities, but because they prove themselves to be transformable, that is, because they can enter into relations of composition with other images. Through its montage, Hipkins’ ‘cinema of thinking’ successfully combines the documentary nature of film—its recording—with its symbolic, evocative, ruminative capabilities, thus exemplifying Jean-Luc Godard’s dictum that all good fictions are documentaries and all good documentaries are fictions.

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Moreton-Robinson, Aileen, Maggie Walter, and David Singh. "Editorial." International Journal of Critical Indigenous Studies 5, no. 1 (January 1, 2012): 1. http://dx.doi.org/10.5204/ijcis.v5i1.91.

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The first two articles of this edition of the journal testify to the lengthening reach of the discipline of Critical Indigenous Studies that is, remarkably, still in its nascence. Emiel Martens examines the development of Maori filmmaking since the 1980s and takes the opportunity to explore this Indigenous cinema in the context of developments in the New Zealand film industry generally. Shifting from cultural production to renewable energy, Steven M. Hoffman and Thibault Martin remind us that in the effort to satiate the demands for energy, it is often Indigenous peoples who bear adverse consequences. Using a social capital framework, the authors examine the impact of the development of hydroelectric power upon a displaced Aboriginal community and conclude that displacement has resulted in an erosion of cohesive social bonds that once ensured a sustainable way of life

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Findlay, Michael. "So High you can't get over it: Neo-classicism, Modernism and Colonial Practice in the forming of a Twenieth Century Architectural Landmark." Architectural History Aotearoa 3 (October 30, 2006): 7–19. http://dx.doi.org/10.26686/aha.v3i.6795.

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Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over time when Connell's intention to combine classical and modern design tendencies was criticised by more doctrinaire modernists. High and Over occupies a place where the traditions of classicism and the emergent features of modernism intersect. Connell's path, if taken, may have produced a distinctively British form of classical modernism. [NEW PARAGRAPH] This paper seeks to establish the context for High and Over from a New Zealand perspective and through comparison with other projects by colonial architects in Britain. Connell's critical profile has been shaped by the notion that British modernism was in the hands of "Wild Colonial Boys," a soubriquet used to frame Connell's work in the 1930s by the British writer Dennis Sharp. In this interpretation, the depth of Connell's experience prior to High and Over is overlooked. Connell's partnership with the Australian-born Stewart Lloyd Thomson (1902-90) has not been covered in any previous study of the Connell, Ward and Lucas practice. The High and Over project included a number of related structures set in a landscape plan not usually included in analysis of the complex whole. The relationship between the garden plan and the designs of the Armenian architect Gabriel Guévrékian seen at the Paris Exposition and the Villa Noailles at Hyéres (1927) has also not been traversed.

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Lambert, Anthony, and Greg Dolgopolov. "Cinema, modernity, modernism: Selected papers from the XVth Biennial Conference of the Film and History Association of Australia and New Zealand (FHAANZ), University of New South Wales, Sydney, Australia." Studies in Australasian Cinema 5, no. 2 (January 2011): 101–5. http://dx.doi.org/10.1386/sac.5.2.101_2.

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Lealand, Geoff. "Review: Geoff Mayer and Keith Beattie (eds), The Cinema of Australia and New Zealand. London: Wallflower Press, 2007. £18.99. 259 pp. Bruce Babington, A History of the New Zealand Fiction Feature Film. Manchester: Manchester University Press, 2007. £15.99. 290 pp." European Journal of Communication 23, no. 2 (June 2008): 246–49. http://dx.doi.org/10.1177/02673231080230020609.

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McKay, Jim, and Toby Miller. "From Old Boys to Men and Women of the Corporation: The Americanization and Commodification of Australian Sport." Sociology of Sport Journal 8, no. 1 (March 1991): 86–94. http://dx.doi.org/10.1123/ssj.8.1.86.

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Although there are obvious American influences on Australian popular culture, the term “Americanization” is of limited help in explaining the elaborate form and content of Australian sport. The recent transformation from amateur to corporate sport in Australia has been determined by a complex array of internal and international social forces, including Australia’s polyethnic population, its semiperipheral status in the capitalist world system, its federal polity, and its membership in the Commonwealth of Nations. Americanization is only one manifestation of the integration of amateur and professional sport into the media industries, advertising agencies, and multinational corporations of the world market. Investment in sport by American, British, New Zealand, Japanese, and Australian multinational companies is part of their strategy of promoting “good corporate citizenship,” which also is evident in art, cinema, dance, music, education, and the recent bicentennial festivities. It is suggested that the political economy of Australian sport can best be analyzed by concepts such as “post-Fordism,” the globalization of consumerism, and the cultural logic of late capitalism, all of which transcend the confines of the United States.

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Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s." Journal of British Cinema and Television 18, no. 3 (July 2021): 329–59. http://dx.doi.org/10.3366/jbctv.2021.0577.

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This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.

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Huffer, Ian. "The circulation of Chinese film in New Zealand as a potential platform for soft power." Media International Australia 176, no. 1 (June 16, 2020): 78–92. http://dx.doi.org/10.1177/1329878x20921570.

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New Zealand is one of only a handful of countries worldwide in which Chinese blockbusters are regularly released in cinemas and has also been a site of increasing debate regarding China’s soft power. This article consequently examines the circulation of Chinese films in New Zealand, not only through theatrical exhibition but also non-theatrical channels, and considers how this might build a platform for soft power. It considers the balance between ‘official’ and ‘unofficial’ mainland filmmaking, and between mainland filmmaking and Hong Kong, Taiwanese and diasporic filmmaking, along with the target audiences for these different channels. The article shows that, taken as a whole, the distribution and exhibition landscape for Chinese film in New Zealand builds a successful platform for the People’s Republic of China’s aspirations of winning the ‘hearts and minds’ of overseas Chinese, while also being characterised by clear limitations in reaching non-Chinese audiences in New Zealand.

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Driskell, Amy, Les Christidis, B. J. Gill, Walter E. Boles, F. Keith Barker, and N. W. Longmore. "A new endemic family of New Zealand passerine birds: adding heat to a biodiversity hotspot." Australian Journal of Zoology 55, no. 2 (2007): 73. http://dx.doi.org/10.1071/zo07007.

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The results of phylogenetic analysis of two molecular datasets sampling all three endemic New Zealand ‘honeyeaters’ (Prosthemadera novaeseelandiae, Anthornis melanura and Notiomystis cincta) are reported. The undisputed relatedness of the first two species to other honeyeaters (Meliphagidae), and a close relationship between them, are demonstrated. However, our results confirm that Notiomystis is not a honeyeater, but is instead most closely related to the Callaeidae (New Zealand wattlebirds) represented by Philesturnus carunculatus in our study. An estimated divergence time for Notiomystis and Philesturnus of 33.8 mya (Oligocene) suggests a very long evolutionary history of this clade in New Zealand. As a taxonomic interpretation of these data we place Notiomystis in a new family of its own which takes the name Notiomystidae. We expect this new phylogenetic and taxonomic information to assist policy decisions for the conservation of this rare bird.

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Pino-Ojeda, Walescka. "Uneasy social and psychological landscapes in the cinemas of Chile and New Zealand." Critical Arts 29, no. 5 (September 3, 2015): 591–607. http://dx.doi.org/10.1080/02560046.2015.1125090.

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Brincalepe Salvador, Rodrigo, Barbara Mizumo Tomotani, Colin Miskelly, and Susan M. Waugh. "Historical distribution data of New Zealand endemic families Callaeidae and Notiomystidae (Aves, Passeriformes)." Check List 15, no. 4 (August 30, 2019): 701–27. http://dx.doi.org/10.15560/15.4.701.

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Callaeidae (wattlebirds) and Notiomystidae (stitchbirds) are New Zealand-endemic sister-taxa; while widespread before human settlement, they subsequently became critically endangered or extinct. Aside from presently managed populations, information about them is scarce and actual specimens even scarcer. Herein, we provide a snapshot of these families’ historical distribution during the critical periods of European settlement and expansion in New Zealand (19th and early-20th centuries), exploring new data and insights resulting from this approach. We include an extensive catalogue of worldwide museum specimens to facilitate future research. We report the last known record/specimen of huia Heteralocha acutirostris (Gould, 1837) and late 19th century specimens of North Island saddleback Philesturnus rufusater (Lesson, 1828) from Cuvier Island that confirm its occurrence there. We failed to find specimens of North Island saddleback and stitchbird Notiomystis cincta (du Bus de Gisignies, 1839) (with one and two exceptions, respectively) from named locations on the mainland.

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ANGEHR, GEORGE R. "Designation of a lectotype for Notiomystis cincta hautura Mathews, 1935 (Aves: Passeriformes: Meliphagidae)." Zootaxa 2754, no. 1 (February 1, 2011): 67. http://dx.doi.org/10.11646/zootaxa.2754.1.6.

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Mathews (1935) described the population of the New Zealand endemic hihi, or stitchbird Notiomystis cincta (Du Bus) from Little Barrier Island (Hauturu) as the subspecies hautura, distinct from the nominate subspecies on the mainland of the North Island. Mathews based his description on a series in the American Museum of Natural History, New York, but did not designate a type specimen. The AMNH specimens vary in the quality of the label data associated with them, and the locality information on some is somewhat uncertain.

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Bray, Jonathan P., Paul A. Broady, Dev K. Niyogi, and Jon S. Harding. "Periphyton communities in New Zealand streams impacted by acid mine drainage." Marine and Freshwater Research 59, no. 12 (2008): 1084. http://dx.doi.org/10.1071/mf08146.

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Discharges from historic and current coal mines frequently generate waters low in pH (<3), high in heavy metals (e.g. Fe, Al) and cover streambeds in metal precipitates. The present study investigated periphyton communities at 52 stream sites on the West Coast, South Island, New Zealand, representing a range of impacts from acid mine drainage (AMD). Taxonomic richness was negatively related to acidity and metal oxides and biomass was negatively correlated with metal oxides, but positively related to acidity. Streams with low pH (<3.5) had low periphyton richness (14 taxa across all sites) and were dominated by Klebsormidium acidophilum, Navicula cincta and Euglena mutabilis. As pH increased, so did taxonomic richness while community dominance decreased and community composition became more variable. Canonical correspondence analyses of algal assemblages revealed patterns influenced by pH. These findings indicate that streams affected by AMD possess a predictable assemblage composition of algal species that can tolerate the extreme water chemistry and substrate conditions. The predictability of algal communities declines with decreasing stress, as other abiotic and biotic factors become increasingly more important.

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Ewen, John G., Doug P. Armstrong, Raewyn Empson, Sandra Jack, Troy Makan, Kate McInnes, Kevin A. Parker, Kate Richardson, and Maurice Alley. "Parasite management in translocations: lessons from a threatened New Zealand bird." Oryx 46, no. 3 (April 30, 2012): 446–56. http://dx.doi.org/10.1017/s0030605311001281.

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AbstractAwareness of parasite risks in translocations has prompted the development of parasite management protocols, including parasite risk assessment, parasite screening and treatments. However, although the importance of such measures seems obvious it is difficult to know whether the measures taken are effective, especially when working with wild populations. We review current methods in one extensively researched case study, the endemic New Zealand passerine bird, the hihi Notiomystis cincta. Our review is structured around four of the 10 questions proposed by Armstrong & Seddon (Trends in Ecology & Evolution, 2008: 23, 20–25) for reintroduction biology. These four questions can be related directly to parasites and parasite management and we recommend using this framework to help select and justify parasite management. Our retrospective study of recent disease and health screening in hihi reveals only partial overlap with these questions. Current practice does not focus on, or aim to reduce, the uncertainty in most steps of the risk assessment process or on evaluating whether the measures are effective. We encourage targeted parasite management that builds more clearly on available disease risk assessment methodologies and integrates these tools within a complete reintroduction plan.

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Burgess, Matthew, and Lewis Evans. "PARALLEL IMPORTATION AND SERVICE QUALITY: AN EMPIRICAL INVESTIGATION OF COMPETITION BETWEEN DVDS AND CINEMAS IN NEW ZEALAND." Journal of Competition Law & Economics 1, no. 4 (December 1, 2005): 747–70. http://dx.doi.org/10.1093/joclec/nhi022.

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Low, Matthew. "Sex, age and season influence morphometries in the New Zealand Stitchbird (or Hihi; Notiomystis cincta)." Emu - Austral Ornithology 106, no. 4 (December 2006): 297–304. http://dx.doi.org/10.1071/mu06003.

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Robie, David. "REVIEW: How soldier guitars, culture and faith paved way for Bougainville’s peace." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 303–6. http://dx.doi.org/10.24135/pjr.v25i1and2.502.

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Soldiers Without Guns: An untold story of unsung Kiwi heroes, documentary, 92min. Director Will Watson. Narrated by Lucy Lawless.WHILE a gripping film about the apocalyptic Bougainville war, or more accurately the peace that ended the decade-long conflict, opened in cinemas across New Zealand in April 2019, an island roadshow was taking place back in the Pacific. Initiated by the United Nations, the roadshow—featuring Bougainville President Father John Momis, many of his cabinet members and UN Resident Coordinator Gianluca Rampolla—was designed to help prepare Bougainvillean voters to decide on their future. This future is due to be put to the test in a referendum on October 17 in the crucial political outcome of an extraordinary peace process that began in chilly mid-winter talks at Burnham Military Camp near Christchurch in July 1997.

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Low, Matthew. "Female resistance and male force: context and patterns of copulation in the New Zealand stitchbirdNotiomystis cincta." Journal of Avian Biology 36, no. 5 (September 2005): 436–48. http://dx.doi.org/10.1111/j.0908-8857.2005.03460.x.

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Duntsch, Laura, Barbara M. Tomotani, Pierre de Villemereuil, Patricia Brekke, Kate D. Lee, John G. Ewen, and Anna W. Santure. "Polygenic basis for adaptive morphological variation in a threatened Aotearoa | New Zealand bird, the hihi ( Notiomystis cincta )." Proceedings of the Royal Society B: Biological Sciences 287, no. 1933 (August 26, 2020): 20200948. http://dx.doi.org/10.1098/rspb.2020.0948.

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To predict if a threatened species can adapt to changing selective pressures, it is crucial to understand the genetic basis of adaptive traits, especially in species historically affected by severe bottlenecks. We estimated the heritability of three hihi ( Notiomystis cincta ) morphological traits known to be under selection (nestling tarsus length, body mass and head–bill length) using 523 individuals and 39 699 single nucleotide polymorphisms (SNPs) from a 50 K Affymetrix SNP chip. We then examined the genetic architecture of the traits via chromosome partitioning analyses and genome-wide association scans (GWAS). Heritabilities estimated using pedigree relatedness or genomic relatedness were low. For tarsus length, the proportion of genetic variance explained by each chromosome was positively correlated with its size, and more than one chromosome explained significant variation for body mass and head–bill length. Finally, GWAS analyses suggested many loci of small effect contributing to trait variation for all three traits, although one locus (an SNP within an intron of the transcription factor HEY2 ) was tentatively associated with tarsus length. Our findings suggest a polygenic nature for the morphological traits, with many small effect size loci contributing to the majority of the variation, similar to results from many other wild populations. However, the small effective population size, polygenic architecture and already low heritabilities suggest that both the total response and rate of response to selection are likely to be limited in hihi.

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THOROGOOD, ROSE, and JOHN G. EWEN. "Rare occurrence of embryonic twins in the Hihi (Stitchbird) Notiomystis cincta: an endangered passerine of New Zealand." Ibis 148, no. 4 (July 24, 2006): 828–29. http://dx.doi.org/10.1111/j.1474-919x.2006.00580.x.

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Brekke, Patricia, Peter M. Bennett, Jinliang Wang, Nathalie Pettorelli, and John G. Ewen. "Sensitive males: inbreeding depression in an endangered bird." Proceedings of the Royal Society B: Biological Sciences 277, no. 1700 (June 30, 2010): 3677–84. http://dx.doi.org/10.1098/rspb.2010.1144.

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Attempts to conserve threatened species by establishing new populations via reintroduction are controversial. Theory predicts that genetic bottlenecks result in increased mating between relatives and inbreeding depression. However, few studies of wild sourced reintroductions have carefully examined these genetic consequences. Our study assesses inbreeding and inbreeding depression in a free-living reintroduced population of an endangered New Zealand bird, the hihi ( Notiomystis cincta ). Using molecular sexing and marker-based inbreeding coefficients estimated from 19 autosomal microsatellite loci, we show that (i) inbreeding depresses offspring survival, (ii) male embryos are more inbred on average than female embryos, (iii) the effect of inbreeding depression is male-biased and (iv) this population has a substantial genetic load. Male susceptibility to inbreeding during embryo and nestling development may be due to size dimorphism, resulting in faster growth rates and more stressful development for male embryos and nestlings compared with females. This work highlights the effects of inbreeding at early life-history stages and the repercussions for the long-term population viability of threatened species.

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LOW, MATTHEW, TOMAS PÄRT, and PÄR FORSLUND. "Age-specific variation in reproduction is largely explained by the timing of territory establishment in the New Zealand stitchbird Notiomystis cincta." Journal of Animal Ecology 76, no. 3 (May 2007): 459–70. http://dx.doi.org/10.1111/j.1365-2656.2007.01234.x.

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Franks, Victoria R., John G. Ewen, Mhairi McCready, and Rose Thorogood. "Foraging behaviour alters with social environment in a juvenile songbird." Proceedings of the Royal Society B: Biological Sciences 287, no. 1939 (November 25, 2020): 20201878. http://dx.doi.org/10.1098/rspb.2020.1878.

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Early independence from parents is a critical period where social information acquired vertically may become outdated, or conflict with new information. However, across natural populations, it is unclear if newly independent young persist in using information from parents, or if group-level effects of conformity override previous behaviours. Here, we test if wild juvenile hihi ( Notiomystis cincta , a New Zealand passerine) retain a foraging behaviour from parents, or if they change in response to the behaviour of peers. We provided feeding stations to parents during chick-rearing to seed alternative access routes, and then tracked their offspring's behaviour. Once independent, juveniles formed mixed-treatment social groups, where they did not retain preferences from their time with parents. Instead, juvenile groups converged over time to use one access route per group, and juveniles that moved between groups switched to copy the locally favoured option. Juvenile hihi did not copy specific individuals, even if they were more familiar with the preceding bird. Our study shows that early social experiences with parents affect initial foraging decisions, but social environments encountered later on can update transmission of arbitrary behaviours. This suggests that conformity may be widespread in animal groups, with potential cultural, ecological and evolutionary consequences.

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Ewen, John G., Ian Flux, and Per G. P. Ericson. "Systematic affinities of two enigmatic New Zealand passerines of high conservation priority, the hihi or stitchbird Notiomystis cincta and the kokako Callaeas cinerea." Molecular Phylogenetics and Evolution 40, no. 1 (July 2006): 281–84. http://dx.doi.org/10.1016/j.ympev.2006.01.026.

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Thorogood, Rose, John G. Ewen, and Rebecca M. Kilner. "Sense and sensitivity: responsiveness to offspring signals varies with the parents' potential to breed again." Proceedings of the Royal Society B: Biological Sciences 278, no. 1718 (January 26, 2011): 2638–45. http://dx.doi.org/10.1098/rspb.2010.2594.

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How sensitive should parents be to the demands of their young? Offspring are under selection to seek more investment than is optimal for parents to supply, which makes parents vulnerable to losing future fitness by responding to manipulative displays. Yet, parents cannot afford to ignore begging and risk allocating resources inefficiently. Here, we show that parents may solve this problem by adjusting their sensitivity to begging behaviour in relation to their own likelihood of breeding again, a factor largely neglected in previous analyses of parent–offspring interactions. In two carotenoid-supplementation experiments on a New Zealand passerine, the hihi Notiomystis cincta , we supplemented adults to enhance their propensity to breed again, and supplemented entire broods to increase their mouth colour, thus enhancing their solicitation display. We found that adults that attempted two breeding attempts a season were largely insensitive to the experimentally carotenoid-rich gapes of their brood, whereas those that bred just once responded by increasing their rate of provisioning at the nest. Our results show that parents can strategically vary their sensitivity to begging in relation to their future reproductive potential. By restricting opportunities for offspring to influence provisioning decisions, parents greatly limit the potential for offspring to win parent–offspring conflict.

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Richardson, Kate, Isabel C. Castro, Dianne H. Brunton, and Doug P. Armstrong. "Not so soft? Delayed release reduces long-term survival in a passerine reintroduction." Oryx 49, no. 3 (November 19, 2013): 535–41. http://dx.doi.org/10.1017/s0030605313001014.

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AbstractReintroduction success depends in part on the release strategy used. Benefits are attributed to particular release strategies but few studies have tested these assumptions. We examined the effect of delayed release (a form of so-called soft release) on the survival of a threatened passerine, the New Zealand hihi Notiomystis cincta, for up to 7 months after translocation. Birds were captured at the source site and then held in captivity for disease screening. They were then taken to the release site, where 30 were released immediately and 28 were held for a further 2–4 days in an on-site aviary. Twenty-four birds were fitted with radio-transmitters. A 1,300 ha area around the release site was searched fortnightly, and survival was analysed using a multi-state model that accounted for the effect of transmitters on detection probability. Our results indicated that delayed release had a negative effect on long-term survival, but no effect was apparent in the first 6 weeks. Survival probability from 6 weeks to 7 months post-release was 0.77 ± SE 0.20 for immediate-release birds and 0.04 ± SE 0.06 for delayed-release birds. Our results suggest that there is a misconception about the benefits of delayed-release strategies during translocation of wild animals. Studies that have demonstrated a benefit of delayed release in other bird species used captive-bred individuals, and we suggest that wild individuals perceive captivity differently. We recommend that biological context is considered before delayed release is used in translocations.

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P. Armstrong, Doug, and John G. Ewen. "Testing for food limitation in reintroduced Hihi populations: contrasting results for two islands." Pacific Conservation Biology 7, no. 2 (2001): 87. http://dx.doi.org/10.1071/pc010087.

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The Hihi Notiomystis cincta, a New Zealand honeyeater (Aves: Meliphagidae), became extinct everywhere except one offshore island following European colonization, Attempts to establish Hihi on additional islands in the 1980s had poor success, and this was attributed to food limitation. These islands had all been modified by human use, and had a lower diversity of natural carbohydrate (fruit and nectar) sources than the source island, particularly in winter. When Hihi were released on two additional islands, Mokoia and Tiritiri Matangi, we used supplementation experiments to test whether condition and survival of birds were limited by availability of carbohydrate food. Sugar water was provided on an on-off basis from autumn through spring in the year after the release. Birds were weighed at the beginning and end of fed periods, and survival for fed and unfed periods was estimated using mark-recapture analysis on sighting data. Armstrong and Perrott (2000) reported that supplementary feeding had no effect on condition or survival on Mokoia, and annual survival was about 40%, both in the year of the experiment and in subsequent years when food was supplied continuously. This paper reports contrasting results for Tiritiri Matangi. Supplementary feeding on Tiritiri Matangi increased both condition and survival, and overall survival was substantially higher than on Mokoia - 66% in the year of the experiment and 76% the following year when food was supplied continuously. It therefore appears that supplementary feeding can be used to improve survival of Hihi on Tiritiri Matangi, whereas survival is constrained to a low level by other factors on Mokoia. These results emphasize the value of habitat manipulation experiments for developing appropriate management strategies for reintroduced populations.

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"New Zealand cinema: interpreting the past." Choice Reviews Online 49, no. 02 (October 1, 2011): 49–0753. http://dx.doi.org/10.5860/choice.49-0753.

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"The Cinema of Australia and New Zealand." Choice Reviews Online 45, no. 04 (December 1, 2007): 45–1927. http://dx.doi.org/10.5860/choice.45-1927.

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"Contemporary New Zealand cinema: from new wave to blockbuster." Choice Reviews Online 46, no. 11 (July 1, 2009): 46–6090. http://dx.doi.org/10.5860/choice.46-6090.

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"Historical dictionary of Australian and New Zealand cinema." Choice Reviews Online 43, no. 09 (May 1, 2006): 43–5004. http://dx.doi.org/10.5860/choice.43-5004.

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Botha, Martin P. "The Struggle for a South African Film Audience." Kinema: A Journal for Film and Audiovisual Media, April 10, 2004. http://dx.doi.org/10.15353/kinema.vi.1075.

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IN THIS ARTICLE, the author aims to discuss the historical process which led to the fragmented nature of film audiences in South Africa presently. He examines the current status of film audiences and stresses the importance of audience development as an important option for the commercial growth of South African film industry. 1. Background and ContextThe years 1959 to 1980 had been characterised by an artistic revival in filmmaking throughout the world, ranging from exciting political films in Africa and Latin America to examples of great art cinema in Europe and Asia. National cinemas(1) emerged in Australia, West Germany, Iceland and New Zealand. In 1977 Iceland, for example, was nearly invisible on the map of world cinema. Few films were made there, but since the establishment of a national film commission similar to our NFVF (National Film and Video Foundation) an independent cinema emerged. Following the establishment of...

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Journal articles on the topic 'New Zealand cinema'

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