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New Zealand has produced one of the world’s most vibrant film cultures, a reflection of the country’s evolving history and the energy and resourcefulness of its people. From early silent features like The Te Kooti Trail to recent films such as River Queen, this book examines the role of the cinema of New Zealand in building a shared sense of national identity. The works of key directors, including Peter Jackson, Jane Campion, and Vincent Ward, are here introduced in a new light, and select films are given in-depth coverage. Among the most informative accounts of New Zealand’s fascinating national cinema, this will be a must for film scholars around the globe.

Introduction: The Historical Film in New Zealand Cinema – Alistair Fox, Barry Keith Grant and Hilary Radner

Chapter 1: Rudall Hayward and the Cinema of Maoriland: Genre-mixing and Counter-discourses in Rewi’s Last Stand (1925), The Te Kooti Trail (1927) and Rewi's Last Stand/The Last Stand (1940) – Alistair Fox

Chapter 2: Rudall Hayward's Democratic Cinema and the "Civilising Mission" in the "Land of the Wrong White Crowd" – Jeanette Hoorn and Michelle Smith

Chapter 3: The Western, New Zealand History and Commercial Exploitation: The Te Kooti Trail, Utu and Crooked Earth – Harriet Margolis

Chapter 4: Unsettled Historiography: Postcolonial Anxiety and the Burden of the Past in Pictures – Cherie Lacey

Chapter 5: Cross-currents: River Queen’s National and Trans-national Heritages – Olivia Macassey

Chapter 6: Tracking Tītokowaru over Text and Screen: Pākehā Narrate the Warrior, 1906–2005 – Annabel Cooper

Chapter 7: Rites of Passage in Post–Second World War New Zealand Cinema: Migrating the Masculine in Journey for Three (1950) – Simon Sigley

Chapter 8: Cinema and the Interpretation of 1950s New Zealand History: John O’Shea and Roger Mirams, Broken Barrier (1952) – Barbara Brookes

Chapter 9: Re-representing Indigeneity: Approaches to History in Some Recent New Zealand and Australian Films – Janet Wilson

Chapter 10: “The Donations of History”: Mauri and the Transfigured “Māori Gaze”: Towards a Bi-national Cinema in Aotearoa – Bruce Harding

Chapter 11: History, Hybridity and Indeterminate Space: The Parker-Hulme Murder, Heavenly Creatures and New Zealand Cinema – Alison L. McKee

Chapter 12: Screening Women’s Histories: Jane Campion and the New Zealand Heritage Film, from the Biopic to the Female Gothic – Hilary Radner

Chapter 13: The Time and the Place: Music and Costume and the “Affect” of History in the New Zealand Films of Jane Campion – Estella Tincknell

Chapter 14: Mining for Forgotten Gold: Leon Narbey’s Illustrious Energy (1987) – Bruce Babington

Sujets

Arts visuels

Cinéma

Cinema

Nueva Zelanda

New Zealand

General officer

History of film

Art

General

Aotearoa

Nouvelle-Zélande

Media

Informations

Publié par	Intellect Books
Date de parution	01 avril 2011
Nombre de lectures	0
EAN13	9781841505251
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

New Zealand Cinema

Merata Mita as Matu in Utu , 1983, dir. Geoff Murphy. Photograph by Victoria Ginn.
New Zealand Cinema
Interpreting the Past
Edited by Alistair Fox, Barry Keith Grant and Hilary Radner
First published in the UK in 2011 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2011 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2011 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose Copy-editor: Integra Software Services Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-425-4
Printed and bound by Gutenberg Press, Malta.
For Merata Mita (1942-31 May 2010), with respect and appreciation
Contents
Acknowledgements
Introduction: The Historical Film in New Zealand Cinema
Alistair Fox, Barry Keith Grant and Hilary Radner
Chapter 1: Rudall Hayward and the Cinema of Maoriland: Genre-mixing and Counter-discourses in Rewi s Last Stand (1925), The Te Kooti Trail (1927) and Rewi s Last Stand/The Last Stand (1940)
Alistair Fox
Chapter 2: Rudall Hayward s Democratic Cinema and the Civilising Mission in the Land of the Wrong White Crowd
Jeanette Hoorn and Michelle Smith
Chapter 3: The Western, New Zealand History and Commercial Exploitation: The Te Kooti Trail, Utu and Crooked Earth
Harriet Margolis
Chapter 4: Unsettled Historiography: Postcolonial Anxiety and the Burden of the Past in Pictures
Cherie Lacey
Chapter 5: Cross-currents: River Queen s National and Trans-national Heritages
Olivia Macassey
Chapter 6: Tracking T tokowaru over Text and Screen: P keh Narrate the Warrior, 1906-2005
Annabel Cooper
Chapter 7: Rites of Passage in Post-Second World War New Zealand Cinema: Migrating the Masculine in Journey for Three (1950)
Simon Sigley
Chapter 8: Cinema and the interpretation of 1950s New Zealand History: John O Shea and Roger Mirams, Broken Barrier (1952)
Barbara Brookes
Chapter 9: Re-representing Indigeneity: Approaches to History in Some Recent New Zealand and Australian Films
Janet Wilson
Chapter 10: The Donations of History : Mauri and the Transfigured M ori Gaze : Towards a Bi-national Cinema in Aotearoa
Bruce Harding
Chapter 11: History, Hybridity and Indeterminate Space: The Parker-Hulme Murder, Heavenly Creatures and New Zealand Cinema
Alison L. McKee
Chapter 12: Screening Women s Histories: Jane Campion and the New Zealand Heritage Film, from the Biopic to the Female Gothic
Hilary Radner
Chapter 13: The Time and the Place: Music and Costume and the Affect of History in the New Zealand Films of Jane Campion
Estella Tincknell
Chapter 14: Mining for Forgotten Gold: Leon Narbey s Illustrious Energy (1987)
Bruce Babington
Filmography
Bibliography
Contributors
Index
Acknowledgements
T he seeds for this volume were sown at the biennial meeting of the Film and History Association of Australia held at the University of Otago in November-December 2008, when the possibility of a book-length study of the New Zealand historical film first became apparent. We therefore owe a debt of gratitude to all those who participated in this conference, including those who offered comments and advice on the idea of the project - in particular, Russell Campbell and Michael Walsh who, as long standing members of this organisation, offered support in the planning stages that was much appreciated.
The editors would also like to acknowledge the financial support provided by the University of Otago generally, and the various forms of support offered by the Centre for Research on National Identity, the Cultures, Histories and Identities in Film, Media and Literature Research Network, the Department of Media, Film and Communication, the Department of English and the Division of Humanities. Erica Todd, Lisa Marr and Delyn Day provided editorial assistance. We would like to thank staff in The New Zealand Film Commission/Te Tumu Whakaata Taonga, the Hocken Library/Te Uare Taoka o H kena, Archives New Zealand/Te Rua Mahara o te K wanatanga and the New Zealand Film Archive/Ng Kaitiaki O Ng Taonga Whiti hua for assisting us in locating illustrations for this book.
The difficulty of accessing some of the earlier New Zealand films made it important that some photographic images were included in the book. We are therefore grateful to the wh nau of Tina Hunt and Patiti Warbrick for permission to reproduce images of them; to Ramai Te Miha for permission to reproduce the production still from Rewi s Last Stand; and to Victoria Ginn for giving us access to her stills from the productions of Utu and Mauri .
Finally, we would like to express out sincere thanks to Jelena Stanovnik at Intellect, for the exemplary care with which she steered this book through the various states of its production.
Alistair Fox Barry Keith Grant Hilary Radner

I believe that history itself, the passage of people, is connected. The past influences the present, which influences the future, for better or worse [...]. We need to fight for something a little bit beyond ourselves.
(Barry Barclay, commenting on his film, The Feathers of Peace )
Tomorrow is the harvest of our yesterdays.
(Advertising slogan for Pictures, 1981, dir. Michael Black)

The arrival, from The Piano , 1993, dir. Jane Campion.
Introduction
The Historical Film in New Zealand Cinema
Alistair Fox, Barry Keith Grant, and Hilary Radner
F rom the time filmmakers first began to make fiction features, cinema has been preoccupied with historical subject matter. By 1911, the historical film already constituted a major genre in French cinema, with single-reel movies like Marie Stuart (1908) and Le Roi s amuse (1909), 1 while in the United States the historical blockbuster film had found its prototype as early as 1915, with D. W. Griffith s monumental epic, The Birth of a Nation . The popularity of the historical film is not hard to see; as scholars like Marcia Landy have argued, historicising of one sort or another has always played a key part in determining how individuals and groups inherit and understand their social and cultural milieu. 2 Yet, at the same time, writes Landy, history and memory have also played a part in destabilising conceptions of the nation 3 as filmmakers have engaged in the centuries-old tradition of grappling with the present by writing about the past. 4 The dramatisation of history can be used to celebrate and propagate dominant institutions and ideologies; equally, it can elaborate a counter-history or counter-narrative for the sake of debunking prevailing myths. 5 This means that the historical film may be viewed as one of the most important ways in which social experience and collective consciousness is formulated, transformed, and transmitted. As Robert Burgoyne puts it, cinema has an unequalled ability to re-create the past in a sensual, mimetic form that, on one hand, establishes an emotional connection to the past that can awaken a powerful sense of national belonging, while, on the other it can activate a probing sense of national self-scrutiny. 6 For Burgoyne, the historical film thus constitutes a privileged discursive site in which anxiety, ambivalence, and expectation about the nation, its history, and its future are played out in narrative form. 7
To a large degree, the unique capacity of cinematic representation to articulate a nation s emergent or evolving sense of identity derives from cinema s ability to draw upon the expressive devices of a wide range of cinematic genres. The eclecticism of the historical film is reflected in Burgoyne s identification of five distinct subtypes within the larger category: the war film, the epic film, the biographical film, the metahistorical film, and the topical historical film. 8 Furthermore, one often finds that elements from other cinematic genres (for example, comedy, melodrama, the western, the romance, and so on) are combined within the same sub-genre (as in the case of Rudall Hayward s war epics, discussed in Chapter 1 ). Such generic fluidity, together with the admixture of perspectives from the present with material that relates to, and is often derived from, the past, inevitably predisposes the historical film towards pastiche - here defined in its general sense as the combining of elements from disparate sources, often involving the adaptation or localisation of an existing work.
This kind of pastiche, as Andrew Higson, following Pam Cook, has argued, is particularly evident in the historical costume drama, in which the creation of a story based on events imported from another time opens up a space in which to explore the hybrid qualities of national identity. In Higson s words:
Pastiche can enable the story-teller to establish a sense of location in history, in a real setting, by invoking the conventional signs for representing that historical location. But once the location is imagined, pastiche can then enable the story-teller to weave a narrative that can explore concerns that may have nothing to do with the implied historical setting, but everything to do with the moment in which the telling of the story unfolds. That is, it can enable the story-teller to explore concerns that may have everything to do with the present. Pastiche thus enables the anomalous and the perverse to be inserted into the apparently authentic historical location, it enables the past to be mixed with the present, it enables the fantastic to mingle with the realist. 9
It is precisely this ability to bring the past into dialogue with the present that makes the historical film an invaluable marker of the process of cultural change in a nation s evolving i