New Zealand Cinema
Interpreting the Past
Distributed for Intellect Ltd
350 pages
|
40 halftones
|
7 x 9
|
© 2011
- Contents
- Review Quotes
Table of Contents
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 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
Filmography
Bibliography
Contributors
Index
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
Filmography
Bibliography
Contributors
Index
Review Quotes
Times Literary Supplement
"Ester Tinknell’s analysis of the meaning and historical specificity of the fair-isle pullover in Heavenly Creatures and the crinoline in The Piano is an exemplar of the penetrating understanding of all the contributions to this collection of thirteen essays on New Zealand cinema. Such details help us to explore the complexities of life in a country that is global and local, past and present, Maori and Pakeha."
For more information, or to order this book, please visit https://press.uchicago.edu
Google preview here
You may purchase this title at these fine bookstores. Outside the USA, see our international sales information.