Relevant bibliographies by topics / Television Production and direction New Zealand

Academic literature on the topic 'Television Production and direction New Zealand'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Television Production and direction New Zealand"

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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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Zanker, Ruth. "Producers Speak: Creating Civic Spaces for New Zealand Children." Media International Australia 139, no. 1 (May 2011): 32–41. http://dx.doi.org/10.1177/1329878x1113900106.

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This article examines children's television production discourses. It first contextualises how regulations in New Zealand shape the children's broadcasting environment, then it asks producers of children's programs to describe how they go about creating public service programs for children within a complex media political economy. Several questions are addressed, with a key one examining how producers imagine their audiences and construct appropriate public spaces for them within the current constraints of funding and advertising regulation. The field research is based on extended face-to-face interviews conducted in 2009 with producers, a free-to-air television programmer and the television managers for the two funding agencies, New Zealand On Air (NZOA) and Te Māngai Pāho (Māori language media funding).
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Silk, Michael. "Together We’re One? The “Place” of the Nation in Media Representations of the 1998 Kuala Lumpur Commonwealth Games." Sociology of Sport Journal 18, no. 3 (September 2001): 277–301. http://dx.doi.org/10.1123/ssj.18.3.277.

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Through an ethnographically oriented case study at the 1998 Commonwealth Games, the analysis accounts for the complexities and nuances that realignments in political, economic, and social life create for televised sport professionals. The analysis addresses the mediations of, and the interactions between, the host broadcaster (Radio Television Malaysia) and one “client” broadcaster (Television New Zealand). Specifically, the paper focuses on the conditions of production, the production practices, and the meanings embodied within the product that flowed to New Zealand.
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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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Potter, Anna, and Tom O’Regan. "Pukeko Pictures and the Kiwi DIY Spirit: Building Global Partnerships from the End of the World." Television & New Media 20, no. 5 (January 31, 2018): 492–508. http://dx.doi.org/10.1177/1527476418755305.

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Wellington, New Zealand is a major international screen production base for movies including Peter Jackson’s Lord of the Rings and The Hobbit trilogies. New Zealand production companies like Jackson’s Weta Group producing content for international markets benefit from local policy settings that support such productions. In 2008, a group of long-time Jackson collaborators including Richard Taylor established Pukeko Pictures. In a small country with a deregulated media system, no dedicated public service broadcaster, and minimal supports for children’s television, Pukeko is a successful, globally oriented producer of children’s content. This article examines the strategies that underpin Pukeko Pictures’ production portfolio, which includes the 2015 reboot Thunderbirds Are Go, and a preschool coproduction with China. The combination of dispersed production practices, local subsidies, and quality infrastructure contribute to Pukeko Pictures’ success. We suggest, however, that strategic international relationships managed by Taylor are also critical to Pukeko Pictures developing a significant foothold in transnational television services.
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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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Given, Jock. "“There Will Still Be Television but I Don’t Know What It Will Be Called!”: Narrating the End of Television in Australia and New Zealand." Media and Communication 4, no. 3 (July 14, 2016): 109–22. http://dx.doi.org/10.17645/mac.v4i3.561.

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Australia and New Zealand, like other countries, have unique TV systems and practices that shape the possibilities enabled by emerging technologies, enterprises, behaviors and ideas. This article explores two recent articulations of the concept of television that have motivated ‘end of television’ narratives in the two countries. One is future-oriented – the introduction of online subscription video services from local providers like Fetch TV, Presto, Stan and from March 2015, the international giant Netflix. It draws on a survey of senior people in TV, technology, advertising, production, audience measurement and social media conducted in late 2014 and early 2015. The other is recent history – the switchover from analogue to digital terrestrial television, completed in both countries in December 2013. Digital TV switchover was a global policy implemented in markedly different ways. Television was transformed, though not in the precise ways anticipated. Rather than being in the center of the digital revolution, as the digital TV industry and policy pioneers enthused, broadcast television was, to some extent, overrun by it. The most successful online subscription video service in Australia and New Zealand so far, Netflix, talks up the end of television but serves up a very specific form of it. The article poses a slightly different question to whether or not television is ending: that is, whether, in the post-broadcast, digital era, distinctions between unique TV systems and practices will endure, narrow, dissolve, or morph into new forms of difference.
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Falconer, R. K. H., and L. J. Handley. "Weather and Sea Conditions Offshore New Zealand." Energy Exploration & Exploitation 6, no. 2 (April 1988): 126–35. http://dx.doi.org/10.1177/014459878800600206.

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Weather and sea conditions offshore New Zealand are severe enough to be of concern for oil exploration or production, coastal engineering, and shipping; and there have been some bad experiences. Analysis of existing information will permit adequate predictions of likely conditions in most areas. To illustrate the type of data available, and its limitations, examples are presented from the the southern area of New Zealand. Ship report files, particularly those from oil rigs, give adequate indications of wind speed and direction, swell and sea height is reasonable if recalculated as combined wave height, swell directions are adequate, but many sea and swell periods are unreliable. Hinds derived from radar tracked balloons can be used to predict winds up to 250km offshore, which provides a large historical data base. Numerical model derived wave heights correctly indicate the pattern of wave height changes with time, but the amplitudes must be scaled for near site data.
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Johnson, Steven E. "Forest, Regional and Sector Planning Models in New Zealand." Forestry Chronicle 62, no. 6 (December 1, 1986): 537–41. http://dx.doi.org/10.5558/tfc62537-6.

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The New Zealand forest sector is facing an unprecedented expansion over the next 30 years, due to a radiata pine planting boom during the 1960's and 70's. Markets and processing capacity will have to be expanded to take advantage of the increases in production from exotic plantations, increases predicted to more than triple the current annual cut of about 10 million m3. This paper outlines some of the planning models that are being developed to assist New Zealand's forest sector in coping with its imminent expansion. While these models are a step in the right direction, further work is required in the planning of wood processing and marketing if New Zealand hopes to make the most of its plantation resources. Key words: New Zealand, planning models, radiata pine.
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Smart, Billy. "Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962–81." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 65–76. http://dx.doi.org/10.7227/cst.9.3.7.

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Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov's The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene. Through close analysis of The Cherry Orchard, I outline the aesthetic and technological development of television drama itself over twenty years.
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Dissertations / Theses on the topic "Television Production and direction New Zealand"

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Schaffer, M. J. "Spatial aspects of bumble bee (Bombus spp. Apidae) foraging in farm landscapes." Lincoln University, 1997. http://hdl.handle.net/10182/2243.

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Bumble bees (Bombus spp.: Apidae) are valuable pollinators of many crop and wildflower species. However, in some situations their potential is limited. Evaluation of, and management to improve bumble bee efficacy should include spatial information which is currently limited. Distance and direction determine the success of gene flow via pollen cross-over within and between plant populations at several scales. Studies of movement by bumble bees at large scales in semi-natural and intensively managed habitats are scarce. Few studies of bumble bee dispersal from the nest exist, particularly in relation to crops. At a small scale, directional rather than random movement between flowers has benefits for pollen flow. Results to date of directionality studies at small scales and their interpretation are inconsistent. The purpose of this thesis was to assess distances and directions moved by foraging bumble bees at a range of scales in two contrasting farm habitats in order to predict their pollination potential. A novel method was developed to mark automatically all the occupants of nests of bumble bees B. terrestris (L.) placed around a Lucerne seed crop Medicago sativa L. in New Zealand. Reobservation data from eight nests showed that of bumble bees which foraged within the crop, 81 % travelled ≤ 50 m and 56% ≤ 20 m from their nest. Results should be interpreted with extreme caution because fewer than 1 % of bumble bees marked at nests were reobserved in the crop. Because it was not established where the other 99% of the bumble bees went, foraging areas for nests could not be calculated as anticipated. Theories to explain the non-specificity of bumble bees to the crop include; resource depletion near nests, competition with honey bees in the crop, or an evolved strategy to disperse in order to minimise nest predation. Lucerne flowers contained a significantly lower concentration of sugar in nectar, and significantly fewer pollen grains than did those of purple loosestrife Lythrum salicaria L., a species on which bumble bees appeared to forage in preference Lucerne. The higher rewards offered by L. salicaria may have diverted bumble bees from the less-rewarding Lucerne crop. In a Norwegian meadow system, all foraging bouts by bumble bees B. lucorum (L.) within a patch of wood cranesbill flowers Geranium sylvaticum L. were random with respect to direction. This result is not consistent with predictions, based on optimal foraging theory, that movement should be directional to enable optimal pollen flow, and to avoid revisitation of just-emptied flowers by the pollinator. A medium-scale study of several bumble bee species moving between patches of northern wolfsbane Aconitum septentrionale Koelle in Norway revealed considerable loyalty by bumble bees to patches in which they were marked. In a different landscape-scale study (over 5 ha), several bumble bees exhibited a high degree of loyalty to areas in which they were marked (87% were reobserved ≤ 50 m from marking points). These restricted movement patterns are discussed in terms of potential pollen flow. Of 260 bumble bees marked, only five were recorded crossing between meadows, which could be a result of innate loyalty to small forage areas, an artefact of the sampling technique used, or forest boundaries acting as physical impediments to movement. In the future, spatial data of the type collected in this thesis will aid in the management of bumble bee populations to achieve both commercial and conservation goals. Spatial data can be applied to predict the optimal placement of artificially-reared nests, predict suitable isolation distances for pure seed crops, and aid in the positioning of supplementary forage sources and nest-site refuges.
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Books on the topic "Television Production and direction New Zealand"

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Roscoe, Jane. Documentary in New Zealand: An immigrant nation. Palmerston North, N.Z: Dunmore Press, 1999.

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

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Cairns, Barbara. Shadows on the wall: A study of seven New Zealand feature films. Auckland, N.Z: Longman Paul, 1994.

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Producing for TV and new media: A real-world approach for producers. 2nd ed. Amsterdam: Elsevier/Focal Press, 2009.

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Below the line: Producers and production studies in the new television economy. Durham, NC: Duke University Press, 2011.

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1954-, Davis Lloyd Spencer, ed. The business of documentary filmmaking: A practical guide for emerging New Zealand filmmakers. Dunedin, N.Z: Longacre Press, 2008.

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Kraszewski, Jon. The new entrepreneurs: An institutional history of television anthology writers. Middletown, Conn: Wesleyan University Press, 2010.

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The new entrepreneurs: An institutional history of television anthology writers. Middletown, Conn: Wesleyan University Press, 2010.

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Belli, Mary Lou. The NEW Sitcom Career book: A guide to the louder faster funnier world of TV comedy. 2nd ed. Los Angeles, CA: Maplewood Press, 2013.

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J, Fink Edward, and Tanquary Tom, eds. Portable video: ENG & EFP. 5th ed. Oxford: Focal, 2007.

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Book chapters on the topic "Television Production and direction New Zealand"

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Nelson, Emily, and Leigh Johnson. "Addressing the Socio-Spatial Challenges of Innovative Learning Environments for Practicum: Harmonics for Transitional Times." In Teacher Transition into Innovative Learning Environments, 291–303. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7497-9_23.

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AbstractA shift to Innovative Learning Environments (ILEs) in New Zealand schools is a current Ministry of Education strategic direction challenging how we as teacher educators prepare candidate teachers (student teachers or trainee teachers) to teach in these emerging environments. Candidate teachers in our primary teaching degree increasingly are placed in ILEs on practicum as these develop in schools in our geographic area. Our students report anecdotally that teaching in ILEs poses them steep and novel challenges around how they plan, teach, assess, manage students and learning, as well as work collaboratively with associate teachers and, increasingly, other colleagues. With our current programme underpinned by a more conventional image of teaching and learning, and schools transitioning between conventional and arguably more innovative, bespoke environments, we wondered how our students navigated the novel pedagogical and physical configurations they encountered in ILEs on practicum. We conducted focus group interviews with our candidate teachers and recent graduates who had completed one or more practicum in an innovative learning environment (as defined by the practicum school). We explored participants’ perceptions of the particular demands ILEs created for them. Utilising Lefebvre’s (The production of space. Trans. Blackwell, Cambridge, MA, 1991) socio-spatial trialectic and Monahan’s (Built pedagogies & technology practices: designing for participatory learning. Palo Alto, CA, 2000) notion of “built pedagogy” in this chapter we identify key socio-spatial entanglements, or harmonics, that emerge from our analysis and explore how these inform how we might better prepare our candidate teachers in these transitional times.
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Doolan, Emma. "Unsettled Waters: The Postcolonial Gothic of Tidelands." In Screening the Gothic in Australia and New Zealand. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721141_ch01.

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Tidelands (2018), the first standalone Australian production in the Netflix Originals portfolio, imports the monstrous figure of the siren from Greek mythology to the South-East Queensland coast, unsettling not only the iconic Australian beach, but also the domestic television genres of the beachside soapie and crime drama. However, while Tidelands innovates in Australian Gothic, it also continues to engage with – or become entangled within – some of the genre’s oldest preoccupations: nation, inheritance, belonging, and colonial guilt. Tidelands’s spaces function as gothic heterotopias, reflecting tensions between multicultural, Indigenous, and Anglo-Celtic Australia which the series attempts to resolve by replacing First Nations peoples with the half-siren Tidelanders, imagining a future in which hybridity and assimilation erase the need for Reconciliation.
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