LEADER 04170nam 2200637 a 450 001 9910461284503321 005 20200520144314.0 010 $a1-283-16283-0 010 $a9786613162830 010 $a1-84150-525-0 035 $a(CKB)2670000000093646 035 $a(EBL)711688 035 $a(OCoLC)729166879 035 $a(SSID)ssj0000539540 035 $a(PQKBManifestationID)12271193 035 $a(PQKBTitleCode)TC0000539540 035 $a(PQKBWorkID)10580529 035 $a(PQKB)10686625 035 $a(MiAaPQ)EBC711688 035 $a(Au-PeEL)EBL711688 035 $a(CaPaEBR)ebr10476298 035 $a(CaONFJC)MIL316283 035 $a(EXLCZ)992670000000093646 100 $a20110621d2011 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 00$aNew Zealand cinema$b[electronic resource] $einterpreting the past /$fedited by Alistair Fox, Barry Keith Grant and Hilary Radner 210 $aBristol [England] ;$aChicago $cIntellect$d2011 215 $a1 online resource (354 p.) 300 $aDescription based upon print version of record. 311 $a1-84150-425-4 320 $aIncludes bibliographical references and index. 320 $aIncludes filmography. 327 $aFront Cover; Preliminary Pages; Contents; Acknowledgements; Introduction: The Historical Film in New Zealand Cinema; Chapter 1: Rudall Hayward and the Cinema of Maoriland: Genre-mixing and Counter-discourses in Rewi's Last Stand (1925), The Te; Chapter 2: Rudall Hayward's Democratic Cinema and the "Civilising Mission" in the "Land of the Wrong White Crowd"; Chapter 3: The Western, New Zealand History and Commercial Exploitation: The Te Kooti Trail, Utu and Crooked Earth; Chapter 4: Unsettled Historiography: Postcolonial Anxiety and the Burden of the Past in Pictures 327 $aChapter 5: Cross-currents: River Queen's National and Trans-national Heritages Chapter 6: Tracking Titokowaru over Text and Screen: Pakeha Narrate the Warrior, 1906-2005; Chapter 7: Rites of Passage in Post-Second World War New Zealand Cinema: Migrating the Masculine in Journey for Three (1950); Chapter 8: Cinema and the Interpretation of 1950's New Zealand History: John O'Shea and Roger Mirams, Broken Barrier (1952); Chapter 9: Re-representing Indigeneity: Approaches to History in Some Recent New Zealand and Australian Films 327 $aChapter 10: "The Donations of History": Mauri and the Transfigured "Maori Gaze": Towards a Bi-national Cinema in Aotearoa Chapter 11: History, Hybridity and Indeterminate Space: The Parker-Hulme Murder, Heavenly Creatures and New Zealand Cinema; Chapter 12: Screening Women's Histories: Jane Campion and the New Zealand Heritage Film, from the Biopic to the Female Gothic; Chapter 13: The Time and the Place: Music and Costume and the "Affect" of History in the New Zealand Films of Jane Campion; Chapter 14: Mining for Forgotten Gold: Leon Narbey's Illustrious Energy (1987); Filmography 327 $aBibliography Contributors; Index; Back Cover 330 $aNew 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 in the new millennium, 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 Zeala 606 $aMotion pictures$zNew Zealand 607 $aNew Zealand$xHistory 608 $aElectronic books. 615 0$aMotion pictures 676 $a791.430993 701 $aFox$b Alistair$0695340 701 $aGrant$b Barry Keith$f1947-$0846037 701 $aRadner$b Hilary$0551381 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910461284503321 996 $aNew Zealand cinema$92443705 997 $aUNINA