Relevant bibliographies by topics / Motion pictures – new zealand – history

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  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Motion pictures – new zealand – history'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Motion pictures – new zealand – history"

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McCredie, Athol. "Pictures on a Page: Towards a History of the Photobook in New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 5–21. http://dx.doi.org/10.24135/backstory.vi5.35.

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The term ‘photobook’ is very recent, yet numerous studies now survey histories of its development right back to the invention of photography. This article examines photographic books in New Zealand up to 1970 and concurrently explores definitions of the ‘photobook’ and whether, or to what extent, they can be applied to any of these publications. It considers nineteenth century albums, early scientific publications, and in particular, the books of scenery that have become such a stock item of New Zealand photographic book production. It also looks at a handful of books in the 1950s and 1960s th
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ELLIS, PATRICK. "A cinema for the unborn: moving pictures, mental pictures and Electra Sparks's New Thought film theory." British Journal for the History of Science 50, no. 3 (2017): 411–28. http://dx.doi.org/10.1017/s0007087417000644.

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AbstractIn the 1910s, New York suffragette Electra Sparks wrote a series of essays in theMoving Picture Newsthat advocated for cine-therapy treatments for pregnant women. Film was, in her view, the great democratizer of beautiful images, providing high-cultural access to the city's poor. These positive ‘mental pictures’ were important for her because, she claimed, in order to produce an attractive, healthy child, the mother must be exposed to quality cultural material. Sparks's championing of cinema during its ‘second birth’ was founded upon the premise of New Thought. This metaphysical Christ
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Bell, David, and Mark Stocker. "Rising sun at Te Papa: the Heriot collection of Japanese art." Tuhinga 29 (June 1, 2018): 50–76. https://doi.org/10.3897/tuhinga.29.e34240.

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In 2016, the Museum of New Zealand Te Papa Tongarewa (Te Papa) acquired more than 60 Japanese artworks from the private collection of Ian and Mary Heriot. The works make a significant addition to the graphic art collections of the national museum. Their variety and quality offer a representative overview of the art of the Japanese woodblock print, and potentially illustrate the impact of Japanese arts on those of New Zealand in appropriately conceived curatorial projects. Additionally, they inform fresh perspectives on New Zealand collecting interests during the last 40 years. After a discussi
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Joyce, Simon, and Jennifer Putzi. "“Greatest Combination in Motion Pictures”: Film History and the Division of Labor in the New York Motion Picture Company." Film History: An International Journal 21, no. 3 (2009): 189–207. http://dx.doi.org/10.2979/fil.2009.21.3.189.

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Knight, Arthur. "Spotlight on Film: All the World's a Stage." Media Information Australia 43, no. 1 (1987): 9–11. http://dx.doi.org/10.1177/1329878x8704300103.

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One phenomenon dominates the history of motion pictures: at one time or another, a single country has emerged as the most creative and vital source of film making on the international scene. It is almost as if a spotlight moved across the stages of the world, pausing now here, now there, to illuminate the work of an entire group of artists. This was perhaps understandable in the Soviet Union during the mid-Nineteen-Twenties, when a new government actively encouraged experimentation in all the arts, and particularly the art of the motion picture.
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Dhakal, Rajesh P., Sandip Singh, and John B. Mander. "Effectiveness of earthquake selection and scaling method in New Zealand." Bulletin of the New Zealand Society for Earthquake Engineering 40, no. 3 (2007): 160–71. http://dx.doi.org/10.5459/bnzsee.40.3.160-171.

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In New Zealand, time history analysis is either the required or preferred method of assessing seismic demands for torsionally sensitive and other important structures, but the criteria adopted for the selection of ground motion records and their scaling to generate the seismic demand remains a contentious and debatable issue. In this paper, the scaling method based on the least squares fit of response spectra between 0.4-1.3 times the structure’s first mode period as stipulated in the New Zealand Standard for Structural Design Actions: Earthquake Actions (NZS1170.5) [1] is compared with the sc
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Morris, Gareth J., Andrew J. Thompson, James N. Dismuke, and Brendon A. Bradley. "Ground motion input for nonlinear response history analysis." Bulletin of the New Zealand Society for Earthquake Engineering 52, no. 3 (2019): 119–33. http://dx.doi.org/10.5459/bnzsee.52.3.119-133.

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Nonlinear response history analysis (NLRHA), or so-called “nonlinear time history analysis”, is adopted by practicing structural engineers who implement performance-based seismic design and/or assessment procedures. One important aspect in obtaining reliable output from the NLRHA procedure is the input ground motion records. The underlying intention of ground motion selection and amplitude-scaling procedures is to ensure the input for NLRHA is representative of the ground shaking hazard level, for a given site and structure.
 The purpose of this paper is to highlight the salient limitatio
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Oyarzo-Vera, Claudio A., Graeme H. McVerry, and Jason M. Ingham. "Seismic Zonation and Default Suite of Ground-Motion Records for Time-History Analysis in the North Island of New Zealand." Earthquake Spectra 28, no. 2 (2012): 667–88. http://dx.doi.org/10.1193/1.4000016.

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A seismic zonation to be used in the selection of ground-motion records for time-history analysis of buildings in the North Island of New Zealand is presented. Both deaggregations of the probabilistic seismic hazard model and the seismological characteristics of the expected ground motions at different locations were considered in order to define the zonation. A profile of the records expected to apply within each zone according to the identified hazard scenarios is presented and suites of records are proposed for each zone, based on region-wide criteria, to be used in time-history analysis in
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Burlotos, Christianos, Kevin Walsh, Tatiana Goded, Graeme McVerry, Nicholas Brooke, and Jason Ingham. "Seismic zonation and default suites of ground-motion records for time-history analysis in the South Island of New Zealand." Bulletin of the New Zealand Society for Earthquake Engineering 55, no. 1 (2022): 25–42. http://dx.doi.org/10.5459/bnzsee.55.1.25-42.

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The rise of performance-based earthquake engineering, in combination with the complexity associated with selecting records for time-history analysis, demonstrates an expressed need for localized default suites of ground motion records for structural designers to use in the absence of site-specific studies. In the current research investigation, deaggregations of probabilistic seismic hazard models (National Seismic Hazard Model, Canterbury Seismic Hazard Model, and Kaikōura Seismic Hazard Model) and the location-specific seismological characteristics of expected ground motions were used to def
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Caulton, Thomas. "Motion Pictures and Moral Panic: The Reception of 'White Slavery' Films in New York in 1913." Film & History: An Interdisciplinary Journal 53, no. 1 (2023): 61–78. http://dx.doi.org/10.1353/flm.2023.a903048.

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Dissertations / Theses on the topic "Motion pictures – new zealand – history"

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Kontour, Kyle, and n/a. "Making culture or making culture possible : notions of biculturalism in New Zealand 1980s cinema and the role of the New Zealand Film Commission." University of Otago. Department of Communication Studies, 2002. http://adt.otago.ac.nz./public/adt-NZDU20070508.140943.

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In the 1970s and 1980s New Zealand experienced significant socio-economic upheaval due in part to the global economy, economic experiments, and the gains of Maori activism. Despite the divisiveness of this period (or possibly because of it), anxieties over notions of New Zealand national identity were heightened. There was a general feeling among many Kiwis that New Zealand culture (however it was defined) was in danger of extinction, mostly due to the dominant influences of the United states and Britain. New Zealanders sought ways to distinguish themselves and their nation. One of the ways in
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Galt, Rosalind. "Redrawing the map of Europe space, history and spectacle in new European cinema /." [S.l. : s.n.], 2002. http://books.google.com/books?id=kV9ZAAAAMAAJ.

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Leotta, Alfio. "Touring the screen : New Zealand film geographies and the textual tourist /." e-Thesis University of Auckland, 2009. http://hdl.handle.net/2292/5762.

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Thesis (PhD--Film, Television and Media Studies)--University of Auckland, 2009.<br>"A thesis submitted in fulfilment of the requirements for the degree of Dotor of Philosophy in Film, Television and media Studeis, the University of Auckland, 2009." Includes bibliographical references.
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Roesch, Stefan, and n/a. "There and back again - comparative case studies of film location tourists� on-site behaviour and experiences." University of Otago. Department of Tourism, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080211.090920.

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Over the last decade, film location tourism has been established as a niche segment in the tourism industry. While this niche has attracted attention from both researchers and marketers alike, not much knowledge has been accumulated about the tourist encounter itself. It is the main purpose of this thesis to research on-site behavioural and experiential aspects of the film location encounter. For the overall research design, an inductive, comparative case-study approach was implemented. Three cases were selected for this research: The Lord of the Rings locations in New Zealand, The Sound of
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Shepherd, Barrett James. "'Party Season: A Screenplay-Based Inquiry into Filming and Judgment, with Accompanying Essay'." The University of Waikato, 2007. http://hdl.handle.net/10289/2430.

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Party Season is about sex and speech and employs some of the conventions of the porn film. Apparently inconsequential 'filler' scenes and dialogue link the pay-off scenes of vividly depicted sex. Except that, in Party Season, this relationship is gradually reversed - the scenes of excessive behaviour becoming 'filler' scenes linking the pay-off moments, the latter often embedded in deliberately extended 'unrealistic' dialogue. A key component of this as a piece of inquiry-based practice is the exploration of this altering balance and of how action and dialogue can function to produce such a re
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Ferrero-Regis, Tiziana, and n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new
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Ferrero-Regis, Tiziana. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366053.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new
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Pokotylo, Heather. "The film break : Thomas Pynchon's Gravity's rainbow, Gilles Deleuze's Cinema, and the emergence of a new history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99743.

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This thesis uses the film philosophy of Gilles Deleuze in Cinema 1: The Movement-Image (1983, trans. 1986) and Cinema 2: The Time-Image (1985, trans. 1989) as a methodology for examining the subject of film in Thomas Pynchon's novel Gravity's Rainbow (1973). The first half of the thesis provides a review of the literature on the subject of film in Gravity's Rainbow, as well as a review of current scholarship on Deleuze's Cinema books, before providing a close reading of both Cinema books that summarizes and explicates the elaborate taxonomy of cinematic signs and images developed by Deleuze. T
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Scoma, David. "THE DEVELOPMENT OF LOOP-BASED CINEMATIC TECHNIQUES IN TWENTIETH CENTURY MOTION PICTURES AND THEIR APPLICATION IN EARLY DIGITAL C." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2227.

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For centuries, repetition in one form or another has been seen as a significant element in the artistic palette. In numerous formats of expression, duplication and looping became a significant tool utilized by artisans in a multitude of creative formats. Yet within the realm of film, the Griffith and Eisenstein models of cinematic editing techniques (as the most popular-- and near-monolithic--narrative aesthetic criteria) effectively disregarded most other approaches, including looping. Despite the evidence for the consistent use of repetition and looping in multiple ways throughout the course
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Cork, Kevin James. "Twenty-four miles around Nelungaloo : the history and importance of cinema exhibition in pre-television times to a country area of central-western New South Wales /." View thesis, 1994. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030916.125146/index.html.

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Books on the topic "Motion pictures – new zealand – history"

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Babington, Bruce. A history of the New Zealand fiction feature film. Manchester University Press, 2007.

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Archive, New Zealand Film, ed. New Zealand film: An illustrated history in association with the film archive. Te Papa Press, 2011.

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Helen, Martin. New Zealand film, 1912-1995. Oxford University Press, 1996.

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Deb, Verhoeven, ed. Twin peeks: Australian and New Zealand feature films. Damned Publishing, 1999.

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Petrie, Duncan J. A coming of age: Thirty years of New Zealand film. Random House New Zealand, 2008.

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Geoff, Mayer, and Beattie Keith, eds. The cinema of Australia and New Zealand. Wallflower Press, 2007.

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Daniela, Cavallaro, Walker Deborah A, and University of Auckland. Europe Institute, eds. New Zealand and the EU: Perspectives on European cinema. The Europe Institute, University of Auckland, 2008.

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Film and History Association of Australia and New Zealand. Conference. Remapping cinema, remaking history: XIVth biennial Conference of the Film and History Association of Australia and New Zealand : conference proceedings. Published on behalf of the Film and History Association of Australia and New Zealand by the Dept. of Media, Film and Communication and the Research Network on Cultures, Identities and Histories in Film, Media and Literature, University of Otago, 2008.

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Jonathan, Dennis, National Film and Sound Archive (Australia), and Giornate del cinema muto (12th : 1993 : Pordenone, Italy), eds. Aotearoa and the sentimental strine: Making films in Australia & New Zealand in the silent period. Moa Films, 1993.

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Brittenden, Wayne. The celluloid circus: The heyday of the New Zealand picture theatre, 1925-1970. Godwit, 2008.

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Book chapters on the topic "Motion pictures – new zealand – history"

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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-2080-6_4.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visu
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Molenda, Michael H. "History and Development of Instructional Design and Technology." In Handbook of Open, Distance and Digital Education. Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0351-9_4-1.

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AbstractThe origins and evolution of instructional technology and instructional design are treated in this chapter as separate concepts, although having intertwined histories. As with other technologies, their origins can be traced to the scientific discoveries on which they are based. Early in the twentieth century, new discoveries in optics and electricity stimulated educators to the adoption of technological innovations such as projected still pictures, motion pictures, and audio recording. Individuals and, later, groups of affiliated professionals promoted enriching learning by adding visu
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Lethem, Jonathan. "1888 The introduction of motion pictures." In A New Literary History of America. Harvard University Press, 2012. http://dx.doi.org/10.4159/9780674054219-087.

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Kalinak, Kathryn. "A history of film music I." In Film Music: A Very Short Introduction, 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0004.

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Abstract Music has been central to the history of film. This chapter charts that history through a global perspective, looking at the origins and development of musical accompaniment to motion pictures from the United States to South America, from Europe, Russia, and the Soviet Union to India, Japan, China, and numerous other countries in between. That history includes attention to the variety of forms that musical accompaniment to early film took from phonographic accompaniment to live performance, from improvisation to cue sheets to original film scores, and from a single musician to a symph
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Snyder, Sherri. "Four." In Barbara La Marr. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174259.003.0005.

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This chapter sheds light upon Reatha’s preteen and early teenage years after her father takes a newspaper job in California and the Watsons move to Fresno. Reatha is forced to abandon stock theater, resumes her education in a convent school, and again feels called to be a nun. Simultaneously struck by a serious illness, she then turns to Christian Science, developing a yearning to become a Christian Science practitioner. Increasingly rebellious, she is expelled from the convent and discards her plans to become a Christian Science practitioner when newly developing motion pictures awaken a new
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Gaines, Jane M. "Copying Technologies." In The Oxford Handbook of Silent Cinema. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190496692.013.15.

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Abstract This chapter compares two technologies a century apart and two entrepreneurs who figured out how to circulate copies of popular moving-image entertainment before US copyright law caught up with technological change. Early cinema’s “Pirate King,” Siegmund Lubin, founder of the Philadelphia Lubin Company, is contrasted with Kim Dotcom, whose Megauploads company pioneered the cyberlocker storage as a means of distributing popular television and motion pictures on the internet. Intellectual property doctrine is tested as another way of approaching technological change over the cinema cent
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Egbe, Amanda. "Between Copyright and Creativity." In Practices of Projection. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190934118.003.0007.

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Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the developmen
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Conference papers on the topic "Motion pictures – new zealand – history"

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Ings, Welby. "Genesis." In LINK 2024 Conference Proceedings. Tuwhera, 2025. https://doi.org/10.24135/link2023.v5i1.208.

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The doctorate has an eight-hundred-year history (Nobel, 1994). However, the first Doctor of Philosophy was not awarded in an English university until 1920. In New Zealand, after its abolishment in 1926, the Ph.D. was reintroduced in 1944 (Ings, 2014). The country’s first practice-led artistic Ph.D. was not awarded until 2005. This thesis, ‘Talking Pictures’ (Ings, 2005), considered ways in which narrative music videos maintain attention durability over multiple screenings. The project was significant because at the time, short film was moving beyond the confines of the cinema and was accessibl
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