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

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Wasson, Haidee. "Modern ideas about old films : the Museum of Modern Art's Film Library and film culture, 1935-39." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0025/NQ50280.pdf.

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12

卓伯棠. "香港新浪潮電影 = Hong Kong new wave cinema". HKBU Institutional Repository, 2001. https://repository.hkbu.edu.hk/etd_ra/332.

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13

Murphy, Caryn E. "Teen ages: Youth market romance in Hollywood teen films of the 1980s and 1990s." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2749/.

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This thesis examines the differences between teen romantic comedy films marketed to Generation X teenagers in the 1980s and Generation Y teenagers in the 1990s, focusing on the presentation of gender roles, consumptive behavior, and family. The 1980s films are discussed within the social context of the Reagan era and the conservatism of the New Right. The 1990s films are examined as continuing a conservative sensibility, but they additionally posit consumption as instrumental to achieving an idealized romance. Romantic comedy is traditionally a conservative genre, but these films illustrate fe

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14

Edwards, Kurt Alexander. "Billy Graham, Elmer Gantry, and the Performance of a New American Revivalism." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1212785421.

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15

Hwang, Yun Mi. "South Korean historical drama : gender, nation and the heritage industry." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1924.

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From the dynamic landscape of contemporary South Korean cinema, one trend that stands out is the palpable revival of the historical drama (known as the ‘sageuk’ in Korean). Since the early 2000s, expensive, visually striking, and successful costumed pieces have been showcased to the audience. Now rivalling the other mainstream genres such as gangster action, romantic comedy, and the Korean blockbuster, the sageuk has made an indelible impact on the national film industry. Even so, the cycle has yet to receive much critical attention. This thesis addresses the gap, driven by the question, what

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16

Terry, Patrick Alan 1984. "Space In-Between: Masumura Yasuzo, Japanese New Wave, and Mass Culture Cinema." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11477.

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viii, 111 p. : ill. (some col.)<br>During the early stage of Japan's High Economic Growth Period (1955-1970), a group of directors and films, labeled the Japanese New Wave, emerged to strong critical acclaim and scholarly pursuit. Over time, Japanese New Wave Cinema has come to occupy a central position within the narrative history of Japanese film studies. This position has helped introduce many significant films while inadvertently ostracizing or ignoring the much broader landscape of film at this time. This thesis seeks to complexify the New Wave's central position through the career of Dai

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17

Chang, Ellen Y. "Cinematic Remapping of the Taiwanese Sense of Self: On the Transitions in Treatments of History and Memory from "The Taiwanese Experience" to "The Taipei Experience"." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1345130562.

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18

Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.

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19

Hopgood, Fincina Elizabeth. "From affliction to empathy: melodrama and mental illness in recent films from Australia and New Zealand." 2006. http://repository.unimelb.edu.au/10187/2859.

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The subject matter of mental illness has fascinated artists and writers for centuries. Filmmakers have responded in diverse and innovative ways to the artistic challenge of portraying mental illness. In this thesis, I focus on the representations of mental illness in six recent films from Australia and New Zealand: Sweetie (Jane Campion, 1989), An Angel at My Table (Campion, 1990), Bad Boy Bubby (Rolf de Heer, 1993), Heavenly Creatures (Peter Jackson, 1994), Angel Baby (Michael Rymer, 1995) and Shine (Scott Hicks, 1996). In each film, the protagonist is diagnosed, or treated by others, as ment

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20

Bercov, Kimberly Dawn. "Investing in the domestic : the crisis of the modern city in late new wave cinema." Thesis, 2001. http://hdl.handle.net/2429/11630.

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Jean-Luc Godard's Two or Three Things I Know about Her/Deux ou trois chases que je sais d'elle (1966) clearly equates the Her/elle in the title with both the city of Paris and a young housewife living in a modern apartment on the outskirts of the city. Godard has insisted that this 'elle' is only Paris and not Juliette—the housewife whose daily activities the film documents. Yet the movements of Juliette within the film are inseparable from the knowledge imparted by the filming of the city's public and domestic spaces. Further, her quotidian route through these sites must constantly neg

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21

Hooton, Fiona Art History &amp Art Education College of Fine Arts UNSW. "The impact of the counterculture on Australian cinema in the mid to late 20th century." 2007. http://handle.unsw.edu.au/1959.4/41008.

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This thesis discusses the impact of the counterculture on Australian cinema in the late 20thcentury through the work of the Sydney Underground Film group, Ubu. This group, active between 1965 -1970, was a significant part of an underground counter culture, to which many young Australians subscribed. As a group, Ubu was more than a rat bag assemblage of University students. It was an antipodean aspect of an ongoing artistic and political movement that began with the European avant-garde at the beginning of the 20th century and that radically transformed artistic conventions in theatre, painting

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22

Finch, Brian Thomas. "Children's film viewing practices : a qualitative investigation into engagement with a feature film : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Education at Massey University, New Zealand." 2008. http://hdl.handle.net/10179/732.

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This study investigates the ways that children engage with a repeatedly viewed film in domestic settings. The research questions focus on the children's language, their multimodal behaviours while viewing and the understandings they form about a film. The study aims to provide insights for educators by demonstrating the range and nature of the educationally significant understandings, about film, that children construct. An initial survey of 9 and 10 year olds produced 17 children who nominated Harry Potter and the Chamber of Secrets (Columbus, 2002) as a favourite film that they had viewed at

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