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Journal articles on the topic 'New Zealand cultural studies'

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1

PRENTICE, CHRIS. "CRITICAL TRANSFORMATIONS: NEW ZEALAND LITERARY AND CULTURAL STUDIES." Journal of the Australasian Universities Language and Literature Association 100, no. 1 (November 2003): 134–46. http://dx.doi.org/10.1179/aulla.2003.100.1.014.

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2

Tarling, Nicholas. "Indonesian studies in New Zealand." Asian Studies Review 14, no. 1 (July 1990): 94–96. http://dx.doi.org/10.1080/03147539008712668.

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3

Hong, Bev. "National cultural indicators in New Zealand." Cultural Trends 23, no. 2 (April 3, 2014): 93–108. http://dx.doi.org/10.1080/09548963.2014.897450.

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4

Cupples, Julie, and Kevin Glynn. "Countercartographies: New (Zealand) cultural studies/geographies and the city." New Zealand Geographer 65, no. 1 (April 2009): 1–5. http://dx.doi.org/10.1111/j.1745-7939.2009.01143.x.

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5

Scott, Michael. "The networked state: New Zealand on Air and New Zealand’s pop renaissance." Popular Music 27, no. 2 (May 2008): 299–305. http://dx.doi.org/10.1017/s026114300800408x.

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AbstractWhen New Zealand’s ‘third-way’ Labour government came to power in 1999 it placed a greater policy and funding emphasis on the arts and culture. Like other ‘promotional states’ (Cloonan 1999) the Labour government sought to support the domestic popular music industry through a voluntary radio quota. Drawing on qualitative research, this article describes the ways in which the state, through New Zealand on Air, negotiates and leverages domestic popular music artists onto commercial radio. In this process, state agents mobilise social networks to ‘join-up’ commercially appropriate artists
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6

Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (February 2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.

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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-p
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7

Shuker, Roy, and Michael Pickering. "Kiwi rock: popular music and cultural identity in New Zealand." Popular Music 13, no. 3 (October 1994): 261–78. http://dx.doi.org/10.1017/s0261143000007194.

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The New Zealand popular music scene has seen a series of high points in recent years. Published in 1989 were John Dix's labour of love, Stranded in Paradise, a comprehensive history of New Zealand rock'n'roll; an influential report by the Trade Development Board, supportive of the local industry; and the proceedings of a well-supported Music New Zealand Convention held in 1987 (Baysting 1989). In the late 1980s, local bands featured strongly on the charts, with Dave Dobbyn (‘Slice of Heaven’, 1986), Tex Pistol (‘The Game of Love’, 1987) and the Holiday Makers (‘Sweet Lovers’, 1988) all having
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Fountaine, Susan. "Farming on Air: New Zealand Farmers and Rural Radio Programming." Media International Australia 92, no. 1 (August 1999): 117–29. http://dx.doi.org/10.1177/1329878x9909200113.

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In the light of funding cuts for New Zealand and Australian public service broadcasters, this article examines the impact of Radio New Zealand's restructuring on one key audience group: farmers. The results of a mail survey of the agricultural community indicate that the recent changes have had a negative effect on the specialist rural programs. Supporting the notion that the specialist news media are an important component in the information-sharing process, agricultural publications were judged the most important source of news overall, and Radio New Zealand's rural programming the most impo
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9

Russill, Chris. "The Billion-Dollar Kyoto Botch-up: Climate Change Communication in New Zealand." Media International Australia 127, no. 1 (May 2008): 138–51. http://dx.doi.org/10.1177/1329878x0812700117.

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New Zealand's greenhouse gas emissions have increased significantly since 1990. This article examines how the fact of increasing emissions is discussed and given significance in New Zealand's national public discourse on climate change. Greenhouse gas emissions became a serious public concern on 17 June 2005, when the New Zealand government estimated a $307 million Kyoto Protocol liability in its 2005 financial statements. Conservative media coverage of this report emphasised governmental miscalculation, the financial liabilities generated by Kyoto Protocol regulations and a struggle between C
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10

Nicholls, Margaret. "Cultural Perspectives from Aotearoa/New Zealand." Journal of Intergenerational Relationships 1, no. 4 (January 8, 2004): 25–34. http://dx.doi.org/10.1300/j194v01n04_03.

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11

Scott, Michael, and David Craig. "The promotional state ‘after neo-liberalism’: ideologies of governance and New Zealand's pop renaissance." Popular Music 31, no. 1 (January 2012): 143–63. http://dx.doi.org/10.1017/s026114301100050x.

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AbstractThis article responds to Frith and Cloonan's (2008) call for researchers considering the relationship between the state and popular music to analyse more closely the ideologies of governance that undergird music policy. Building on Cloonan's ‘promotional state’ and drawing on recent New Zealand experience, this paper shows how New Zealand's Labour government (1999–2008) developed policies to support the export of ‘Kiwi’ pop which requires a reconsideration of state music policy as interventions in the market. The work of the New Zealand Music Commission in generating and coordinating w
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12

Paterson, RK. "Protecting Taonga: the cultural heritage of the New Zealand Maori." International Journal of Cultural Property 8, no. 1 (January 1999): 108–32. http://dx.doi.org/10.1017/s0940739199770633.

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New Zealand concerns regarding cultural heritage focus almost exclusively on the indigenous Maori of that country. This article includes discussion of the way in which New Zealand regulates the local sale and export of Maori material cultural objects. It examines recent proposals to reform this system, including allowing Maori custom to determine ownership of newly found objects.A major development in New Zealand law concerns the role of a quasi-judicial body, the Waitangi Tribunal. Many tribunal decisions have contained lengthy discussions of Maori taonga (cultural treasures) and of alleged p
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13

Sokołowska-Paryż, Marzena, Beate Neumeier, and Jean Anderson. "Cultural reimaginings of New Zealand and Australia." Journal of New Zealand & Pacific Studies 10, no. 1 (June 1, 2022): 3–5. http://dx.doi.org/10.1386/nzps_00088_2.

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14

Wood, Anaru, and Brian Lewthwaite. "Māori science education in Aotearoa New Zealand." Cultural Studies of Science Education 3, no. 3 (July 17, 2008): 625–62. http://dx.doi.org/10.1007/s11422-008-9089-x.

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15

Lealand, Geoff. "Searching for quality television in New Zealand." International Journal of Cultural Studies 4, no. 4 (December 2001): 448–55. http://dx.doi.org/10.1177/136787790100400405.

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16

Farnsworth, John. "New Zealand advertising agencies: Professionalisation and cultural production." Continuum 10, no. 1 (January 1996): 136–51. http://dx.doi.org/10.1080/10304319609365729.

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17

Thomas, Allan. "“Pokarekare”: An Overlooked New Zealand Folksong?" Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 44, no. 2-3 (May 2007): 227–37. http://dx.doi.org/10.2979/jfr.2007.44.2-3.227.

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18

Wilson, Helen. "Review: New Zealand Television: A Reader." Media International Australia 108, no. 1 (August 2003): 180–81. http://dx.doi.org/10.1177/1329878x0310800125.

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19

Leitch, Shirley, and Juliet Roper. "AD Wars: Adversarial Advertising by Interest Groups in a New Zealand General Election." Media International Australia 92, no. 1 (August 1999): 103–16. http://dx.doi.org/10.1177/1329878x9909200112.

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During New Zealand's 1996 general election, neo-liberal employment law became the subject of two opposing advertising campaigns. Although the campaigns confined themselves to a single piece of legislation, the Employment Contracts Act, they reflected a deep division within New Zealand society. This article examines the two campaigns which were run by the Engineers' Union and the Employers' Federation. At its core, the Engineers' campaign was a defence of collectivism both in terms of the values underlying trade unionism and, more broadly, of Keynesian social democracy, whereas the Employers' F
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20

Lealand, Geoff. "Life after Hobbits: The New Zealand Screen Industry in 2006." Media International Australia 121, no. 1 (November 2006): 11–14. http://dx.doi.org/10.1177/1329878x0612100103.

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This article considers the state of the New Zealand TV and film industry, drawing upon the first comprehensive survey by Statistics New Zealand, and discussing a number of notable new productions. It also considers New Zealand film and television on Australian screens and concludes that, while they often dwell upon and magnify differences, such trans-Tasman cultural exchanges have yet to capture the similarities between the two countries.
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Davies, Piers, and Paul Myburgh. "The Protected Objects Act in New Zealand: Too Little, Too Late?" International Journal of Cultural Property 15, no. 3 (August 2008): 321–45. http://dx.doi.org/10.1017/s0940739108080181.

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AbstractThe Protected Objects Amendment Act (POA) was passed by the New Zealand Parliament in 2006, so New Zealand could fulfil its obligations under the UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970 and the UNIDROIT Convention on Stolen or Illegally Exported Cultural Objects 1995. This represents a significant delay after the drafting of these two conventions. This article explores why New Zealand has taken so long to give domestic effect to these conventions and examines the manner in which they hav
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22

Daubs, Michael S. "Hindsight in 2020? New Zealand's ‘Wait and See’ Approach to Mobile Broadband Regulation." Media International Australia 151, no. 1 (May 2014): 171–79. http://dx.doi.org/10.1177/1329878x1415100121.

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New Zealand's Ministry of Business, Innovation and Employment's Review of the Telecommunications Act 2001, released in 2013, highlighted an increased demand for mobile broadband service, particularly in relation to the 700 MHz spectrum auction of 14 January 2014 – space ideal for next-generation 4G or Long Term Evolution (LTE) mobile services. The government seemingly adopted a ‘wait and see’ approach to mobile broadband regulation, however, delaying its development until 2020 when there will be ‘a clearer sense of the impact of new networks and technology’. One can look to Canada to see the n
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23

Lealand, Geoff. "Regulation — What Regulation? Cultural Diversity and Local Content in New Zealand Television." Media International Australia 95, no. 1 (May 2000): 77–89. http://dx.doi.org/10.1177/1329878x0009500109.

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The radical restructuring of New Zealand broadcasting (television in particular), beginning in the late 1980s and accelerating during the 1990s, is probably without peer in the rest of the world. This article backgrounds the origins of such changes, and traces the consequences (both positive and negative) which shaped, and continue to shape, the role and imperatives of television in New Zealand. But the discussion also takes account of more looming changes, with the 1999 election win of the Labour-Alliance and its declared intentions to reorient television towards more public-service objective
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24

Hopkins, Kane, and Donald Matheson. "Talking in a Crowded Room: Political Blogging during the 2008 New Zealand General Election." Media International Australia 144, no. 1 (August 2012): 108–17. http://dx.doi.org/10.1177/1329878x1214400115.

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This article analyses two of New Zealand's foremost political blogs on public affairs in the four weeks prior to the 2008 New Zealand general election. The 2008 election represents, we argue, a moment when the scale and reach of blogging propelled it to a position of significance in New Zealand media. The study uses content analysis to track the material posted on these blogs and in their comments sections. It is concerned primarily with quantifying the kind of debate to be found there and, through that, analysing how these blogs contribute to the quality of public life. The findings show that
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25

Wilson, Helen. "Australian & New Zealand Communication Association News." Media International Australia 95, no. 1 (May 2000): 3. http://dx.doi.org/10.1177/1329878x0009500102.

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26

Wilson, Helen. "Review: The Great New Zealand Radio Experiment." Media International Australia 122, no. 1 (February 2007): 209–11. http://dx.doi.org/10.1177/1329878x0712200132.

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27

Anyanwu, Chika. "ANZCA: Australian & New Zealand Communication Association." Media International Australia 124, no. 1 (August 2007): 4–12. http://dx.doi.org/10.1177/1329878x0712400102.

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28

Tebbutt, John. "Anzca: Australian & New Zealand Communication Association." Media International Australia 125, no. 1 (November 2007): 3–4. http://dx.doi.org/10.1177/1329878x0812500102.

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29

Rountree, Kathryn. "Goddess Spirituality and Nature in Aotearoa New Zealand." Pomegranate 7, no. 2 (November 2005): 141–56. http://dx.doi.org/10.1558/pome.2005.7.2.141.

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30

Storey, Kenton Scott. "Colonial Humanitarian? Thomas Gore Browne and the Taranaki War, 1860–61." Journal of British Studies 53, no. 1 (January 2014): 111–35. http://dx.doi.org/10.1017/jbr.2013.210.

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AbstractThe New Zealand Wars of the 1860s have traditionally been associated with the popularity of antagonistic racial discourses and the growing influence of scientific racism. Building upon recent research into the resonance of humanitarian racial discourses in this period, this article reconsiders the experience of Governor Thomas Gore Browne during the Taranaki War, 1860–61. The Taranaki War was a global news event that precipitated fierce debates within both New Zealand and Great Britain over the war's origins and the rights of indigenous Maori. This article reveals how both Browne and h
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31

Perrott, Lisa. "Rethinking the Documentary Audience: Reimagining the New Zealand Wars." Media International Australia 104, no. 1 (August 2002): 67–79. http://dx.doi.org/10.1177/1329878x0210400109.

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Narratives of war and history are central to the development of nationhood. Within the distinctive context of New Zealand decolonisation, The New Zealand Wars documentary series offers a revised version of a formative moment in New Zealand history. This paper draws upon textual analysis and audience research to explore the potential of this series to function as a catalyst within the process of decolonisation. The television broadcast of this five-part series has arguably played a role in evoking a reimagining of the New Zealand ‘nation’, and in opening a space for public debate. This recently
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Ho, Hau Trung. "The experiences of Vietnamese students in New Zealand: A new country – A new home." Transitions: Journal of Transient Migration 4, no. 2 (October 1, 2020): 203–21. http://dx.doi.org/10.1386/tjtm_00022_1.

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This study explores the everyday living experiences of five Vietnamese postgraduate students in New Zealand, employing an interpretative phenomenological analysis approach. The analysis revealed one minor theme that captures the students’ preparations before coming to New Zealand and one overarching theme that focuses on living arrangements and circumstances. The students were ill-prepared for their lives in New Zealand, which contributed to the difficulties encountered. They were shocked to find that their studies and lives were affected by accommodation arrangements, which forced them to lea
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Keane, W. F. "'Ex-pats' and 'Poofters': The New Zealand All Whites." Culture, Sport, Society 4, no. 3 (September 2001): 49–64. http://dx.doi.org/10.1080/713999838.

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34

Gilbert, John K. "Roger Osborne (1940–1985), University of Waikato, New Zealand." Cultural Studies of Science Education 4, no. 2 (November 22, 2008): 315–22. http://dx.doi.org/10.1007/s11422-008-9165-2.

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35

Joyce, Hester. "A Sting in the Tale: Quirky New Zealand Films." Media International Australia 117, no. 1 (November 2005): 55–63. http://dx.doi.org/10.1177/1329878x0511700107.

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New Zealand films face the dual pressures of succeeding internationally while satisfying the cultural criteria imposed by state funding agencies. In an attempt to reach larger audiences, one response has been to adopt Hollywood models of storytelling. The genre constraints, goal-oriented protagonist and restorative narrative structure that these models demand are at odds with the specifics implied by the term ‘a New Zealand film’. Local filmmakers favour the contrary elements of open-ended narratives, eccentric protagonists and paradoxical endings. This paper compares the structural elements o
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Newman, David. "Regions and Runaways: Film Assistance in New Zealand and British Columbia, 1999–2005." Media International Australia 117, no. 1 (November 2005): 11–30. http://dx.doi.org/10.1177/1329878x0511700104.

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The film and television production industry is significant in both New Zealand and British Columbia. Governments in both localities provide substantial support for the industry through government agencies and tax incentives. This study reviews the effectiveness and success of the New Zealand Film Commission and BC Film in meeting their respective mandates and strategic goals over the last five years. The scope and success of government tax incentives in attracting and encouraging production in both localities are reviewed, with an analysis undertaken of the results. The paper concludes that th
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Rubinstein, William D. "The New Zealand Jewish Community." Journal of Jewish Studies 52, no. 1 (April 1, 2001): 198–200. http://dx.doi.org/10.18647/2344/jjs-2001.

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38

Robie, David. "Diversity Reportage in Metropolitan Oceania: The Mantra and the Reality." Media International Australia 131, no. 1 (May 2009): 30–45. http://dx.doi.org/10.1177/1329878x0913100105.

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Aotearoa/New Zealand has the largest Polynesian population in Oceania. Three Pacific microstates now have more than 70 per cent of their population living in New Zealand. Projected demographics by Statistics New Zealand indicate that the Pacific and indigenous Māori populations could grow by 59 and 29 per cent respectively by 2026. The Asian population will increase even more dramatically over that period, by almost doubling. Māori, Pasifika and ethnic media in New Zealand are also steadily expanding, with major implications for the ‘mainstream’ media industry and journalism educators. For mor
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39

McKergow, Fiona, Geoff Watson, David Littlewood, and Carol Neill. "Ako." Public History Review 29 (December 6, 2022): 38–43. http://dx.doi.org/10.5130/phrj.v29i0.8448.

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This special issue of Public History Review has been edited by Fiona McKergow, Geoff Watson, David Littlewood and Carol Neill and serves as a sampler of recent work in the field of public history from Aotearoa New Zealand. The articles are derived from papers presented at 'Ako: Learning from History?', the 2021 New Zealand Historical Association conference hosted by Massey University Te Kunenga Ki Pūrehuroa.
 The cover image for this special issue shows Taranaki Maunga viewed from a site near the remains of a redoubt built by colonial forces during the New Zealand Wars.
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Durham, Marsha. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 96, no. 1 (August 2000): 3–4. http://dx.doi.org/10.1177/1329878x0009600102.

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41

Wilson, Helen. "Review: Television in New Zealand, Programming the Nation." Media International Australia 115, no. 1 (May 2005): 142–43. http://dx.doi.org/10.1177/1329878x0511500119.

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Bossio, Diana. "ANZCA Australian & New Zealand Communication Association NEWS." Media International Australia 156, no. 1 (August 2015): 3–4. http://dx.doi.org/10.1177/1329878x1515600102.

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Matheson, Donald. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 157, no. 1 (November 2015): 4. http://dx.doi.org/10.1177/1329878x1515700102.

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Turnbull, Sue. "ANZCA Australian & New Zealand Communication Association News." Media International Australia 86, no. 1 (February 1998): 7. http://dx.doi.org/10.1177/1329878x9808600102.

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Tomas, Nin. "Recognizing Collective Cultural Property Rights in a Deceased—Clarke v. Takamore." International Journal of Cultural Property 20, no. 3 (August 2013): 333–48. http://dx.doi.org/10.1017/s0940739113000155.

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AbstractThe recent New Zealand Supreme Court decision inClarke v Takamoreraises issues about how Maori society views deceased tribal members as belonging to the extended family and tribal group collective. This conflicts with English common law understandings that a closer, legally protected individual relationship exists with an executor, if the decedent has left a will, or with a spouse, if there is no will. This note examines the conflict and suggests a solution that would be fairer to Maori than that unanimously reached by three of New Zealand's general courts.
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Harvey, Ross. "Newspaper archives in Australia and New Zealand." Media History 5, no. 1 (June 1999): 71–80. http://dx.doi.org/10.1080/13688809909357951.

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47

Shafer, Susanne M. "Bilingual/bicultural education for Maori cultural preservation in New Zealand." Journal of Multilingual and Multicultural Development 9, no. 6 (January 1988): 487–501. http://dx.doi.org/10.1080/01434632.1988.9994353.

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48

Adams-Hutcheson, Gail, Ann E. Bartos, Kelly Dombroski, Erena Le Heron, and Yvonne Underhill-Sem. "Feminist geographies in Aotearoa New Zealand: cultural, social and political moments." Gender, Place & Culture 26, no. 7-9 (August 22, 2019): 1182–97. http://dx.doi.org/10.1080/0966369x.2018.1558180.

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Huffer, Ian. "The circulation of Chinese film in New Zealand as a potential platform for soft power." Media International Australia 176, no. 1 (June 16, 2020): 78–92. http://dx.doi.org/10.1177/1329878x20921570.

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New Zealand is one of only a handful of countries worldwide in which Chinese blockbusters are regularly released in cinemas and has also been a site of increasing debate regarding China’s soft power. This article consequently examines the circulation of Chinese films in New Zealand, not only through theatrical exhibition but also non-theatrical channels, and considers how this might build a platform for soft power. It considers the balance between ‘official’ and ‘unofficial’ mainland filmmaking, and between mainland filmmaking and Hong Kong, Taiwanese and diasporic filmmaking, along with the t
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Zanker, Ruth. "Kumara Kai or the Big Mac Pak? Television for Six- to 12-Year-Olds in New Zealand." Media International Australia 93, no. 1 (November 1999): 91–102. http://dx.doi.org/10.1177/1329878x9909300110.

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The producers of local television for children in New Zealand face daunting challenges. No public-service channel exists in New Zealand's deregulated television environment and the country has a small population of 3 million. This paper draws on a year-long production case-study of a publicly funded flagship magazine program for six- to 12-year-olds and considers the strategies used by a range of other productions targeting the same audience. This paper raises questions about the rationale of current funding mechanisms.
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