The most thorough study on the filmmakers who have defined New Zealand cinema from its origins to its current successes.

Since New Zealand Cinema burst on to the global stage in the late 1970s, it has maintained a high-profile presence, capturing the imagination and enthusiasm of both national and international audiences, through such films as Vigil, Whale Rider and The Lord of the Rings trilogy. Contemporary New Zealand Cinema provides an astute and definitive analysis of this fascinating industry. Focusing on industrial and commercial concerns, questions of aesthetics and form, and the cultural debates surrounding nation and identity, the book surveys the full range of filmmaking in New Zealand. It displays the rich diversity of film production in the country, and in doing so highlights a number of specific contexts - Maori, documentary and short filmmaking, literary adaptations, the development of the national Film Commission and Archive, marketing and censorship, in addition to explorations into the place of bicultural relations, spirituality, masculinity and disability - that have created a cinema of global significance. Featuring critical accounts of internationally-acclaimed features like The Piano and Once Were Warriors, as well as the growth of the national infrastructure that made such films possible, Contemporary New Zealand Cinema is the most thorough study available of a vibrant filmmaking culture. The book also includes a fully comprehensive filmography detailing all New Zealand feature and television films.

This book is the first ever collection on diasporic screen production in New Zealand. Through contributions by a diverse range of local and international scholars, it identifies the central characteristics, histories, practices and trajectories of screen media made by and/or about migrant and diasporic peoples in New Zealand, including Asians, Pacific Islanders and other communities. It addresses issues pertinent to representation of migrant and diasporic life and experience on screen, and showcases critical dialogues with directors, scriptwriters, producers and other key figures whose work reflects experiences of migration, diaspora and multiculturalism in contemporary New Zealand. With a foreword by Hamid Naficy, the key theorist of accented cinema, this comprehensive collection addresses essential questions about migrant, multicultural and diasporic screen media, policies of representation, and the new aesthetic styles and production regimes emerging from New Zealand film and TV. Migrant and Diasporic Film and Filmmaking in New Zealand is a touchstone for emerging work concerned with migration, diaspora and multiculturalism in New Zealand’s screen production and practice.

Acclaimed Maori filmmaker Barry Barclay’s Our Own Image relates the experiences of making his documentaries and his critically acclaimed feature-length film Ngati (1987), widely credited as the first fiction feature by a member of an indigenous community. Barclay details his views on the process of filmmaking within his own Maori community and discusses how his work differed from popular cinema, advocating for indigenous control, participation, and perspectives in media. Our Own Image gives an in-depth depiction of the changes Barclay’s approach contributed to the field of documentaries, as well as displaying the respect for community Barclay brought to his filming technique. His insistence on letting people speak for themselves demonstrated authenticity to audiences, creating awareness of indigenous cinema in New Zealand and worldwide.

Collected interviews with the New Zealand director of The Piano and Portrait of a Lady

From The Story of the Kelly Gang in 1906 to the Lord of the Rings trilogy, Australia and New Zealand have made a unique impact on international cinema. This book celebrates the commercially successful narrative feature films produced by these cultures as well as key documentaries, shorts, and independent films. It also invokes issues involving national identity, race, history, and the ability of two small film cultures to survive the economic and cultural threat of Hollywood. Chapters on well known films and directors, such as The Year of Living Dangerously (Peter Weir, 1982), The Piano (Jane Campion, 1993), Fellowship of the Ring (Peter Jackson, 2001), and Rabbit Proof Fence (Philip Noyce, 2002), are included with less popular but equally important films and filmmakers, such as Jedda (Charles Chauvel, 1955), They're a Weird Mob (Michael Powell, 1966), Vigil (Vincent Ward, 1984), and The Goddess of 1967 (Clara Law, 2000).

Filmmakers have honed their skills and many have achieved critical and popular success at home and abroad, as have actors and other crew. American filmmakers and companies have found it cheaper to make films in Australia because wages and salaries are lower, tax rebates have been attractive and the expertise in most areas of filmmaking is comparable to that of anywhere in the world. At the same time, Australian audiences still enjoy watching Australian films, making some of them profitable, even if this is a small profit when considered in Hollywood terms. New Zealand filmmakers, cast and crew have shown that they are equal to the world’s best in making films with international themes, while other films have shown that the world is interested in New Zealand narratives and settings. Increased support for Maori filmmakers and stories has had a significant impact on production levels and on the diversity of stories that now reach the screen. It has also helped create more viable career paths for those who continue to be based in their home country. This second edition of Historical Dictionary of Australian and New Zealand Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on leading films as well as many directors, writers, actors and producers. It also covers early pioneers, film companies, genres and government bodies.

The majorly entertaining memoir from a major entertainer - Geoff 'Goodbye Pork Pie' Murphy tells it like it really was in this director's cut of his life and times. "I'm taking this bloody car to Invercargill!" It was the line that had cinema audiences cheering. Goodbye Pork Pie became an instant classic, and announced the arrival of a major new talent in director Geoff Murphy. With his next two films, Utu and The Quiet Earth, he cemented his reputation as a pioneer of New Zealand cinema, eventually arriving in Hollywood as a gun-for-hire in the super-charged world of studio politics and superstar egos. He'd come a long way from his days as a struggling school teacher, and then a member of a madcap band of merry pranksters known as Blerta, founded by his great friend and collaborator Bruno Lawrence. But it was the same sense of adventure -with a healthy dose of Kiwi ingenuity - that defined every stage of his career. In this candid and funny memoir, Geoff Murphy looks back on a life in (and on) film - from do-it-yourself shoots in the 1960s to epic work on Peter Jackson's Lord of the Rings trilogy - and delivers the director's cut of a truly remarkable life.

For five years, Lucy Revill interviewed and photographed Wellingtonians on her blog, The Residents. The experience taught her about her hometown of P?neke, its resilience, and how people's personal style and values are reflected in their private spaces. The Residents: Made in Wellington is the culmination of this project. This coffee-table book shares 38 inspiring stories about how people - some prominent, some unsung heroes - have been shaped by life in the capital. With rare vulnerability, they allow Lucy into their homes, businesses and studios, giving a behind-the-scenes look at how they live and work in food, fashion, arts, small business and more. The book features Fat Freddy's Drop's Chris 'Mu' Faiumu, twentyseven names' Anjali Burnett and Rachel Easting, Eboni Waitere of Huia Publishers, Sophie Kasoylides of The Greek Food Truck, Vijay Parbhu of Dixon Street Shoe Repairs, and Monique Fiso of Hiakai, amongst many others.