ABOUT THIS BOOK

Despite challenges arising from a limited population and the difficulty of obtaining adequate funding, both the film and television industries of New Zealand have been the source of significant achievements and profound cultural influence. Charting their emergence and subsequent development through five decades, New Zealand Film and Television looks at these two increasingly vibrant cultural and creative industries. While there is a growing body of academic work on film and television in New Zealand, relatively little exists that examines the specific cultural concerns, local industries, institutions, and policies involved, which this book addresses in full.

AUTHOR BIOGRAPHY

Trisha Dunleavy is a senior lecturer in media studies at Victoria University of Wellington in New Zealand and the author of Television Drama: Form, Agency, Innovation and Ourselves in Primetime: A History of New Zealand Television Drama.Hester Joyce is a lecturer in cinema studies and the creative arts at La Trobe University in Melbourne, Australia.

REVIEWS

"Powered by expert knowledge and brilliant research, the authors of this book cast new light on filmmaking and television production in New Zealand. Tracing the two industries side-by-side over a long stretch of history produces a number of revealing comparisons and contrasts. There is much debate about the future of television and film in New Zealand, and this book is very timely in providing a thoughtful, in-depth background to the issues. As an innovative study of media institutions, political forces, and cultural trends, this will be valuable reading not only in New Zealand but in all countries that are striving in today's competitive environment to maintain healthy film and television industries."—Roger Horrocks, University of Auckland

— Roger Horrocks, University of Auckland

TABLE OF CONTENTS

Introduction

Chapter 1: Television in the Era of Public Monopoly (1960–88)

Pukemanu

The Governor

Erebus the Aftermath

Chapter 2: Pioneers, Mavericks and the Inception of a National Cinema (1960–88)

Sleeping Dogs

Vigil

Ngāti

Chapter 3: Television, Neo-liberalism and the Advent of Competition (1988–99)

Shortland Street

Chapter 4: Neo-Liberalism and the Consolidation of a National Film Industry (1988–97)

An Angel at My Table

The Piano

Once Were Warriors

Heavenly Creatures

Chapter 5: Television after 2000: Digital ‘Plenty’ in a Small Market

Outrageous Fortune

Chapter 6: New Zealand Cinema and Internationalism (1998–2010)

Whale Rider

Boy

Conclusions