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Journal articles on the topic 'New Zealand cultural studies'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

PRENTICE, CHRIS. "CRITICAL TRANSFORMATIONS: NEW ZEALAND LITERARY AND CULTURAL STUDIES." Journal of the Australasian Universities Language and Literature Association 100, no. 1 (November 2003): 134–46. http://dx.doi.org/10.1179/aulla.2003.100.1.014.

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2

Tarling, Nicholas. "Indonesian studies in New Zealand." Asian Studies Review 14, no. 1 (July 1990): 94–96. http://dx.doi.org/10.1080/03147539008712668.

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3

Hong, Bev. "National cultural indicators in New Zealand." Cultural Trends 23, no. 2 (April 3, 2014): 93–108. http://dx.doi.org/10.1080/09548963.2014.897450.

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4

Cupples, Julie, and Kevin Glynn. "Countercartographies: New (Zealand) cultural studies/geographies and the city." New Zealand Geographer 65, no. 1 (April 2009): 1–5. http://dx.doi.org/10.1111/j.1745-7939.2009.01143.x.

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5

Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (May 2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists to radio programmers. The success of this programme is based upon state agents developing an institutional isomorphism with existing music industry practices. Even so, popular music makers contest New Zealand on Air’s sympathetic policy settings by citing forms of institutional exclusion.

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6

Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (February 2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.

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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-production between public and private broadcasting institutions; its domestic role in a small television market; its relationships with New Zealand ‘identity and culture’; its application of genre conventions and foreign influences; and its progress — as a production that was co-developed by Grundy Television — in a range of export markets.

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7

Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having number one singles. Internationally, Shona Laing (‘Glad I'm Not A Kennedy’, 1987) and Crowded House (‘Don't Dream It's Over’, 1986) broke into the American market, while in Australia many New Zealand performers gathered critical accolades and commercial success.

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8

Fountaine, Susan. "Farming on Air: New Zealand Farmers and Rural Radio Programming." Media International Australia 92, no. 1 (August 1999): 117–29. http://dx.doi.org/10.1177/1329878x9909200113.

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In the light of funding cuts for New Zealand and Australian public service broadcasters, this article examines the impact of Radio New Zealand's restructuring on one key audience group: farmers. The results of a mail survey of the agricultural community indicate that the recent changes have had a negative effect on the specialist rural programs. Supporting the notion that the specialist news media are an important component in the information-sharing process, agricultural publications were judged the most important source of news overall, and Radio New Zealand's rural programming the most important broadcast source.

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9

Russill, Chris. "The Billion-Dollar Kyoto Botch-up: Climate Change Communication in New Zealand." Media International Australia 127, no. 1 (May 2008): 138–51. http://dx.doi.org/10.1177/1329878x0812700117.

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New Zealand's greenhouse gas emissions have increased significantly since 1990. This article examines how the fact of increasing emissions is discussed and given significance in New Zealand's national public discourse on climate change. Greenhouse gas emissions became a serious public concern on 17 June 2005, when the New Zealand government estimated a $307 million Kyoto Protocol liability in its 2005 financial statements. Conservative media coverage of this report emphasised governmental miscalculation, the financial liabilities generated by Kyoto Protocol regulations and a struggle between Climate Change Minister Peter Hodgson and industry voices over how to define the problem. This article links the arguments and discursive strategies used in the 17 June 2005 newspaper coverage of increasing greenhouse gas emissions to the institutional actors shaping New Zealand climate change policy. The increased effectiveness of industry challenges to government climate change policy is noted and discussed.

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10

Nicholls, Margaret. "Cultural Perspectives from Aotearoa/New Zealand." Journal of Intergenerational Relationships 1, no. 4 (January 8, 2004): 25–34. http://dx.doi.org/10.1300/j194v01n04_03.

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11

Scott, Michael, and David Craig. "The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance." Popular Music 31, no. 1 (January 2012): 143–63. http://dx.doi.org/10.1017/s026114301100050x.

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AbstractThis article responds to Frith and Cloonan's (2008) call for researchers considering the relationship between the state and popular music to analyse more closely the ideologies of governance that undergird music policy. Building on Cloonan's ‘promotional state’ and drawing on recent New Zealand experience, this paper shows how New Zealand's Labour government (1999–2008) developed policies to support the export of ‘Kiwi’ pop which requires a reconsideration of state music policy as interventions in the market. The work of the New Zealand Music Commission in generating and coordinating working partnerships with diverse music industry actors illustrates emerging forms of ‘after neo-liberal’ ideology and governance, wherein state-related actors and musicians each and together adapt to market arrangements through supply side, social inclusion and new institutional policy settings and modalities. This article offers points of comparison to types of ideological and governing/institutional formations we can expect to see emerging in promotional states elsewhere.

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12

Paterson, RK. "Protecting Taonga: the cultural heritage of the New Zealand Maori." International Journal of Cultural Property 8, no. 1 (January 1999): 108–32. http://dx.doi.org/10.1017/s0940739199770633.

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New Zealand concerns regarding cultural heritage focus almost exclusively on the indigenous Maori of that country. This article includes discussion of the way in which New Zealand regulates the local sale and export of Maori material cultural objects. It examines recent proposals to reform this system, including allowing Maori custom to determine ownership of newly found objects.A major development in New Zealand law concerns the role of a quasi-judicial body, the Waitangi Tribunal. Many tribunal decisions have contained lengthy discussions of Maori taonga (cultural treasures) and of alleged past misconduct by former governments and their agents in relation to such objects and Maori cultural heritage in general.As is the case with legal systems elsewhere, New Zealand seeks to reconcile the claims of its indigenous peoples with other priorities, such as economic development and environmental protection. Maori concerns have led to major changes in New Zealand heritage conservation law. A Maori Heritage Council now acts to ensure that places and sites of Maori interest will be protected. The council also plays a role in mediating conflicting interests of Maori and others, such as scientists, in relation to the scientific investigation of various sites.Despite these developments, New Zealand has yet to sign the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural Property. The changes proposed to New Zealand cultural property law have yet to be implemented, and there is evidence of uncertainty about the extent to which protecting indigenous Maori rights can be reconciled with the development of a national cultural identity and the pursuit of universal concerns, such as sustainable development.

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13

Sokołowska-Paryż, Marzena, Beate Neumeier, and Jean Anderson. "Cultural reimaginings of New Zealand and Australia." Journal of New Zealand & Pacific Studies 10, no. 1 (June 1, 2022): 3–5. http://dx.doi.org/10.1386/nzps_00088_2.

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14

Wood, Anaru, and Brian Lewthwaite. "Māori science education in Aotearoa New Zealand." Cultural Studies of Science Education 3, no. 3 (July 17, 2008): 625–62. http://dx.doi.org/10.1007/s11422-008-9089-x.

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15

Lealand, Geoff. "Searching for quality television in New Zealand." International Journal of Cultural Studies 4, no. 4 (December 2001): 448–55. http://dx.doi.org/10.1177/136787790100400405.

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16

Farnsworth, John. "New Zealand advertising agencies: Professionalisation and cultural production." Continuum 10, no. 1 (January 1996): 136–51. http://dx.doi.org/10.1080/10304319609365729.

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17

Thomas, Allan. "“Pokarekare”: An Overlooked New Zealand Folksong?" Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 44, no. 2-3 (May 2007): 227–37. http://dx.doi.org/10.2979/jfr.2007.44.2-3.227.

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18

Wilson, Helen. "Review: New Zealand Television: A Reader." Media International Australia 108, no. 1 (August 2003): 180–81. http://dx.doi.org/10.1177/1329878x0310800125.

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19

Leitch, Shirley, and Juliet Roper. "AD Wars: Adversarial Advertising by Interest Groups in a New Zealand General Election." Media International Australia 92, no. 1 (August 1999): 103–16. http://dx.doi.org/10.1177/1329878x9909200112.

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During New Zealand's 1996 general election, neo-liberal employment law became the subject of two opposing advertising campaigns. Although the campaigns confined themselves to a single piece of legislation, the Employment Contracts Act, they reflected a deep division within New Zealand society. This article examines the two campaigns which were run by the Engineers' Union and the Employers' Federation. At its core, the Engineers' campaign was a defence of collectivism both in terms of the values underlying trade unionism and, more broadly, of Keynesian social democracy, whereas the Employers' Federation campaign championed the ethic of individualism within a free-market economy. Such a clear ideological positioning was absent from the campaigns of the major political parties who fought for the middle ground during New Zealand's first proportional representation election. This article, then, examines how interest groups used network television to confront voters with a stark choice between an unasked-for neo-liberal present and an apparently discredited Keynesian past.

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20

Lealand, Geoff. "Life after Hobbits: The New Zealand Screen Industry in 2006." Media International Australia 121, no. 1 (November 2006): 11–14. http://dx.doi.org/10.1177/1329878x0612100103.

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This article considers the state of the New Zealand TV and film industry, drawing upon the first comprehensive survey by Statistics New Zealand, and discussing a number of notable new productions. It also considers New Zealand film and television on Australian screens and concludes that, while they often dwell upon and magnify differences, such trans-Tasman cultural exchanges have yet to capture the similarities between the two countries.

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21

Davies, Piers, and Paul Myburgh. "The Protected Objects Act in New Zealand: Too Little, Too Late?" International Journal of Cultural Property 15, no. 3 (August 2008): 321–45. http://dx.doi.org/10.1017/s0940739108080181.

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AbstractThe Protected Objects Amendment Act (POA) was passed by the New Zealand Parliament in 2006, so New Zealand could fulfil its obligations under the UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970 and the UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects 1995. This represents a significant delay after the drafting of these two conventions. This article explores why New Zealand has taken so long to give domestic effect to these conventions and examines the manner in which they have been given domestic legal effect in the POA. The article also focuses on issues of Māori cultural property, the practical implementation of the POA, and the cultural heritage climate in New Zealand.

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22

Daubs, Michael S. "Hindsight in 2020? New Zealand's ‘Wait and See’ Approach to Mobile Broadband Regulation." Media International Australia 151, no. 1 (May 2014): 171–79. http://dx.doi.org/10.1177/1329878x1415100121.

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New Zealand's Ministry of Business, Innovation and Employment's Review of the Telecommunications Act 2001, released in 2013, highlighted an increased demand for mobile broadband service, particularly in relation to the 700 MHz spectrum auction of 14 January 2014 – space ideal for next-generation 4G or Long Term Evolution (LTE) mobile services. The government seemingly adopted a ‘wait and see’ approach to mobile broadband regulation, however, delaying its development until 2020 when there will be ‘a clearer sense of the impact of new networks and technology’. One can look to Canada to see the need for robust mobile broadband policies. Like New Zealand, Canada has relied primarily upon spectrum auctions to stimulate market competition. The spectrum auction frameworks used there, however, have done little to promote market competition. Applying the lessons learned from Canada to a New Zealand context, this article argues for a more assertive regulatory framework sooner rather than later.

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23

Lealand, Geoff. "Regulation — What Regulation? Cultural Diversity and Local Content in New Zealand Television." Media International Australia 95, no. 1 (May 2000): 77–89. http://dx.doi.org/10.1177/1329878x0009500109.

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The radical restructuring of New Zealand broadcasting (television in particular), beginning in the late 1980s and accelerating during the 1990s, is probably without peer in the rest of the world. This article backgrounds the origins of such changes, and traces the consequences (both positive and negative) which shaped, and continue to shape, the role and imperatives of television in New Zealand. But the discussion also takes account of more looming changes, with the 1999 election win of the Labour-Alliance and its declared intentions to reorient television towards more public-service objectives.

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24

Hopkins, Kane, and Donald Matheson. "Talking in a Crowded Room: Political Blogging during the 2008 New Zealand General Election." Media International Australia 144, no. 1 (August 2012): 108–17. http://dx.doi.org/10.1177/1329878x1214400115.

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This article analyses two of New Zealand's foremost political blogs on public affairs in the four weeks prior to the 2008 New Zealand general election. The 2008 election represents, we argue, a moment when the scale and reach of blogging propelled it to a position of significance in New Zealand media. The study uses content analysis to track the material posted on these blogs and in their comments sections. It is concerned primarily with quantifying the kind of debate to be found there and, through that, analysing how these blogs contribute to the quality of public life. The findings show that while a small number of blogs dominate, one blog's comments section has seen significant growth in the number of individual commenters participating in political discussion. It therefore stands as a useful case study of how blogging has found a place within this country's mediated politics.

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25

Wilson, Helen. "Australian & New Zealand Communication Association News." Media International Australia 95, no. 1 (May 2000): 3. http://dx.doi.org/10.1177/1329878x0009500102.

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26

Wilson, Helen. "Review: The Great New Zealand Radio Experiment." Media International Australia 122, no. 1 (February 2007): 209–11. http://dx.doi.org/10.1177/1329878x0712200132.

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27

Anyanwu, Chika. "ANZCA: Australian & New Zealand Communication Association." Media International Australia 124, no. 1 (August 2007): 4–12. http://dx.doi.org/10.1177/1329878x0712400102.

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28

Tebbutt, John. "Anzca: Australian & New Zealand Communication Association." Media International Australia 125, no. 1 (November 2007): 3–4. http://dx.doi.org/10.1177/1329878x0812500102.

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29

Rountree, Kathryn. "Goddess Spirituality and Nature in Aotearoa New Zealand." Pomegranate 7, no. 2 (November 2005): 141–56. http://dx.doi.org/10.1558/pome.2005.7.2.141.

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30

Storey, Kenton Scott. "Colonial Humanitarian? Thomas Gore Browne and the Taranaki War, 1860–61." Journal of British Studies 53, no. 1 (January 2014): 111–35. http://dx.doi.org/10.1017/jbr.2013.210.

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AbstractThe New Zealand Wars of the 1860s have traditionally been associated with the popularity of antagonistic racial discourses and the growing influence of scientific racism. Building upon recent research into the resonance of humanitarian racial discourses in this period, this article reconsiders the experience of Governor Thomas Gore Browne during the Taranaki War, 1860–61. The Taranaki War was a global news event that precipitated fierce debates within both New Zealand and Great Britain over the war's origins and the rights of indigenous Maori. This article reveals how both Browne and his wartime critics defined themselves as the true defenders of Maori rights. This general usage of humanitarian racial discourses was encouraged by perceptions of metropolitan surveillance, New Zealand's prominence within networks of imperial communication, and an onus to administrate Maori with justice.

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31

Perrott, Lisa. "Rethinking the Documentary Audience: Reimagining the New Zealand Wars." Media International Australia 104, no. 1 (August 2002): 67–79. http://dx.doi.org/10.1177/1329878x0210400109.

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Narratives of war and history are central to the development of nationhood. Within the distinctive context of New Zealand decolonisation, The New Zealand Wars documentary series offers a revised version of a formative moment in New Zealand history. This paper draws upon textual analysis and audience research to explore the potential of this series to function as a catalyst within the process of decolonisation. The television broadcast of this five-part series has arguably played a role in evoking a reimagining of the New Zealand ‘nation’, and in opening a space for public debate. This recently invigorated debate can be characterised by the negotiation of a number of discourses of ‘race’, ‘culture’ and ‘nationhood’. While examples of this public negotiation illustrate the social and intellectual activity involved in the process of making sense of a documentary text, a closer examination of audience response to this series reveals an especially emotional, even ‘mimetic’, dimension of engagement. The few available examples of documentary audience research have tended to focus on intellectual and social processes of negotiating meaning. Through a discussion of passionate responses to The New Zealand Wars series, this paper posits an argument for extending the traditional conceptualisation of documentary audience engagement beyond the intellectual, to include a visceral dimension. Rather than viewing these different types of activity as diametrically opposed, they are considered here to be interconnected elements within a dialogical and experiential encounter between the viewer and the documentary text.

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32

Ho, Hau Trung. "The experiences of Vietnamese students in New Zealand: A new country – A new home." Transitions: Journal of Transient Migration 4, no. 2 (October 1, 2020): 203–21. http://dx.doi.org/10.1386/tjtm_00022_1.

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This study explores the everyday living experiences of five Vietnamese postgraduate students in New Zealand, employing an interpretative phenomenological analysis approach. The analysis revealed one minor theme that captures the students’ preparations before coming to New Zealand and one overarching theme that focuses on living arrangements and circumstances. The students were ill-prepared for their lives in New Zealand, which contributed to the difficulties encountered. They were shocked to find that their studies and lives were affected by accommodation arrangements, which forced them to learn to cope with unfamiliar issues. The overarching essence is that a variety of factors (e.g., familial, cultural and gender factors) influenced the students’ experiences. However, drawing on traditional, cultural values, the students could overcome these difficulties. The study has implications for host universities to assist students in coping with the harsh reality of everyday living issues, including having a roof over one’s head.

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33

Keane, W. F. "'Ex-pats' and 'Poofters': The New Zealand All Whites." Culture, Sport, Society 4, no. 3 (September 2001): 49–64. http://dx.doi.org/10.1080/713999838.

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34

Gilbert, John K. "Roger Osborne (1940–1985), University of Waikato, New Zealand." Cultural Studies of Science Education 4, no. 2 (November 22, 2008): 315–22. http://dx.doi.org/10.1007/s11422-008-9165-2.

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35

Joyce, Hester. "A Sting in the Tale: Quirky New Zealand Films." Media International Australia 117, no. 1 (November 2005): 55–63. http://dx.doi.org/10.1177/1329878x0511700107.

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New Zealand films face the dual pressures of succeeding internationally while satisfying the cultural criteria imposed by state funding agencies. In an attempt to reach larger audiences, one response has been to adopt Hollywood models of storytelling. The genre constraints, goal-oriented protagonist and restorative narrative structure that these models demand are at odds with the specifics implied by the term ‘a New Zealand film’. Local filmmakers favour the contrary elements of open-ended narratives, eccentric protagonists and paradoxical endings. This paper compares the structural elements of four New Zealand films — Smash Palace (Roger Donaldson, 1981), Utu (Geoff Murphy, 1982), Heavenly Creatures (Peter Jackson, 1994) and Whale Rider (Niki Caro, 2003) — and explores the innovative and sometimes unconventional narrative solutions reached by filmmakers while negotiating a Hollywood paradigm within a local context.

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36

Newman, David. "Regions and Runaways: Film Assistance in New Zealand and British Columbia, 1999–2005." Media International Australia 117, no. 1 (November 2005): 11–30. http://dx.doi.org/10.1177/1329878x0511700104.

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The film and television production industry is significant in both New Zealand and British Columbia. Governments in both localities provide substantial support for the industry through government agencies and tax incentives. This study reviews the effectiveness and success of the New Zealand Film Commission and BC Film in meeting their respective mandates and strategic goals over the last five years. The scope and success of government tax incentives in attracting and encouraging production in both localities are reviewed, with an analysis undertaken of the results. The paper concludes that the greater cultural focus by the New Zealand government compared with that of British Columbia has resulted in a stronger track record of critically acclaimed and commercially successful films from New Zealand, with a more mixed record from the service-oriented film economy of British Columbia.

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37

Rubinstein, William D. "The New Zealand Jewish Community." Journal of Jewish Studies 52, no. 1 (April 1, 2001): 198–200. http://dx.doi.org/10.18647/2344/jjs-2001.

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Robie, David. "Diversity Reportage in Metropolitan Oceania: The Mantra and the Reality." Media International Australia 131, no. 1 (May 2009): 30–45. http://dx.doi.org/10.1177/1329878x0913100105.

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Aotearoa/New Zealand has the largest Polynesian population in Oceania. Three Pacific microstates now have more than 70 per cent of their population living in New Zealand. Projected demographics by Statistics New Zealand indicate that the Pacific and indigenous Māori populations could grow by 59 and 29 per cent respectively by 2026. The Asian population will increase even more dramatically over that period, by almost doubling. Māori, Pasifika and ethnic media in New Zealand are also steadily expanding, with major implications for the ‘mainstream’ media industry and journalism educators. For more than two decades, diversity has been a growing mantra for the Aotearoa/New Zealand media. Initially, the concept of biculturalism — partnership with the indigenous tangata whenua— was pre-eminent in the debate but, as the nation's Māori, Pasifika and ethnic media have flourished and matured, and demographics have rapidly changed, multiculturalism and multicultural media strategies have become increasingly important. This paper examines the regional trends in Oceania, the growth of the indigenous and ethnic media, and their impact on the mainstream in New Zealand as an outpost of globalised media. It also looks at the evolving initiatives to address the challenges.

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39

McKergow, Fiona, Geoff Watson, David Littlewood, and Carol Neill. "Ako." Public History Review 29 (December 6, 2022): 38–43. http://dx.doi.org/10.5130/phrj.v29i0.8448.

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This special issue of Public History Review has been edited by Fiona McKergow, Geoff Watson, David Littlewood and Carol Neill and serves as a sampler of recent work in the field of public history from Aotearoa New Zealand. The articles are derived from papers presented at 'Ako: Learning from History?', the 2021 New Zealand Historical Association conference hosted by Massey University Te Kunenga Ki Pūrehuroa. The cover image for this special issue shows Taranaki Maunga viewed from a site near the remains of a redoubt built by colonial forces during the New Zealand Wars.

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40

Durham, Marsha. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 96, no. 1 (August 2000): 3–4. http://dx.doi.org/10.1177/1329878x0009600102.

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41

Wilson, Helen. "Review: Television in New Zealand, Programming the Nation." Media International Australia 115, no. 1 (May 2005): 142–43. http://dx.doi.org/10.1177/1329878x0511500119.

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42

Bossio, Diana. "ANZCA Australian & New Zealand Communication Association NEWS." Media International Australia 156, no. 1 (August 2015): 3–4. http://dx.doi.org/10.1177/1329878x1515600102.

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43

Matheson, Donald. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 157, no. 1 (November 2015): 4. http://dx.doi.org/10.1177/1329878x1515700102.

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44

Turnbull, Sue. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 86, no. 1 (February 1998): 7. http://dx.doi.org/10.1177/1329878x9808600102.

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45

Tomas, Nin. "Recognizing Collective Cultural Property Rights in a Deceased—Clarke v. Takamore." International Journal of Cultural Property 20, no. 3 (August 2013): 333–48. http://dx.doi.org/10.1017/s0940739113000155.

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AbstractThe recent New Zealand Supreme Court decision inClarke v Takamoreraises issues about how Maori society views deceased tribal members as belonging to the extended family and tribal group collective. This conflicts with English common law understandings that a closer, legally protected individual relationship exists with an executor, if the decedent has left a will, or with a spouse, if there is no will. This note examines the conflict and suggests a solution that would be fairer to Maori than that unanimously reached by three of New Zealand's general courts.

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46

Harvey, Ross. "Newspaper archives in Australia and New Zealand." Media History 5, no. 1 (June 1999): 71–80. http://dx.doi.org/10.1080/13688809909357951.

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47

Shafer, Susanne M. "Bilingual/bicultural education for Maori cultural preservation in New Zealand." Journal of Multilingual and Multicultural Development 9, no. 6 (January 1988): 487–501. http://dx.doi.org/10.1080/01434632.1988.9994353.

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48

Adams-Hutcheson, Gail, Ann E. Bartos, Kelly Dombroski, Erena Le Heron, and Yvonne Underhill-Sem. "Feminist geographies in Aotearoa New Zealand: cultural, social and political moments." Gender, Place & Culture 26, no. 7-9 (August 22, 2019): 1182–97. http://dx.doi.org/10.1080/0966369x.2018.1558180.

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49

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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Zanker, Ruth. "Kumara Kai or the Big Mac Pak? Television for Six- to 12-Year-Olds in New Zealand." Media International Australia 93, no. 1 (November 1999): 91–102. http://dx.doi.org/10.1177/1329878x9909300110.

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The producers of local television for children in New Zealand face daunting challenges. No public-service channel exists in New Zealand's deregulated television environment and the country has a small population of 3 million. This paper draws on a year-long production case-study of a publicly funded flagship magazine program for six- to 12-year-olds and considers the strategies used by a range of other productions targeting the same audience. This paper raises questions about the rationale of current funding mechanisms.

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