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.
Tabla de materias
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. Mc Kee
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
Sobre el autor
Hilary Radner is Professor of Film and Media Studies in the Department of History and Art History at the University of Otago, New Zealand, where she coordinates the Visual Culture Programme. Her research interests revolve around understanding the representations of gender and identity in contemporary cinema and visual culture, particularly in terms of how these evolve over time in relation to second wave feminism. Her published works includes Shopping Around: Feminine Culture and the Pursuit of Pleasure (Routledge, 1995) and Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture (Routledge, 2011), as well as numerous co-edited volumes, most recently Feminism at the Movies: Understanding Gender in Contemporary Cinema (Routledge, 2011) and A Companion to Contemporary French Cinema (Wiley/Blackwell, 2015).
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