Draft 2 PhD Introduction - ResearchSpace@Auckland

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320 Cohm, Norman. The Pursuit of the Milleniumn: Revolutionary Messianism in Medieval and Reformation Europe and Its Bearing on Modern Totalitarian Movements. 2nd ed. New York: Harper, 1961. Collier, Jo Leslie. From Wagner to Murnau: The Transposition of Romanticism from Stage to Screen. Ann Arbour, Michigan: UMI Research Press, 1988. Collins, Jim, Hilary Radner, and Ava Collins, eds. Film Theory Goes to the Movies. New York; London: Routledge, 1993. Conrad, Joseph. Heart of Darkness and the Secret Sharer: The Complete Texts. Ed. Franklin Walker. New York: Bantam Books, 1969. Conrich, Ian, and Sarah Davy. Views from the Edge of the World. London: Kakapo Books, 1997. Conrich, Ian, and David Woods, eds. New Zealand - a Pastoral Paradise? Nottingham, England: Kakapo Books, 2000. Cook, Pam, ed. The Cinema Book: A Complete Guide to Understanding the Movies. New York: Pantheon Books, 1985. Corrigan, Timothy, ed. The Films of Werner Herzog: Between Mirage and History. New York: Methuen, 1986. ---. A Cinema without Walls: Movies and Culture after Vietnam. New Brunswick, New Jersey: Rutgers University Press, 1991. Day, Melvin N. Rita Angus. Wellington: National Art Gallery, 1982. Dennis, Jonathan, and Jan Bieringa, eds. Film in Aotearoa New Zealand. 2nd ed. Wellington: Victoria University Press, 1992. Derrida, Jacques. Margins of Philosophy. Trans. Alan Bass. Chicago: University of Chicago Press, 1982. Downie, John. The Navigator: A Mediaeval Odyssey. Cinetek Series. Trowbridge, England: Flicks Books, 2000. Dube, Wolf-Dieter. The Expressionists. London: Thames and Hudson Ltd, 1972. Eco, Umberto. Travels in Hyperreality. Trans. William Weaver. San Diego: Harcourt Brace Jovanovich, 1973. Eisner, Lotte H. Murnau. Paris: Le Terrain Vague, 1964. ---. The Haunted Screen. Trans. Roger Greaves. U.S.A: University of California Press, 1969.
321 Elgar, Dietmar. Expressionism. Trans. Hugh Beyer. Cologne, Germany: Benedikt Taschen Verlag GmbH, 1994. Eliot, T.S. Selected Prose. Harmondsworth: Penguin, 1953. Elsaesser, Thomas. Weimar Cinema and After: Germany's Historic Imaginary. London: Routledge, 2000. Encylopedia of Visual Art. Vol. 4. London: Encyclopaedia Britannica International Ltd, 1968. Encyclopedia of Visual Art. Vol. 5. London: Encyclopaedia Britannica International Ltd, 1968. Finke, Ulrich. German Painting from Romanticism to Expressionism. London: Thames and Hudson Ltd, 1974. Frame, Janet. A State of Siege. North Ryde, Australia: Angus & Robertson, 1966. Gamer, Michael. Romanticism and the Gothic: Genre, Reception and Canon Formation. Cambridge: Cambridge University Press, 2000. Gardner, Helen, ed. The New Oxford Book of English Verse. Oxford: Oxford University Press, 1972. Gay, Peter. Weimar Culture: The Outsider as Insider. New York: Harper and Row, 1968. German Expressionism: The Colours of Desire (Exhibition Catalogue). NSW: International Cultural Corporation of Adelaide Ltd, 1989. Gimpel, Jean. The Medieval Machine: The Industrial Revolution of the Middle Ages. London: Gollanz, 1977. Goodnow, Judith. Kristeva in Focus: From Theory to Film Analysis. Norway: University of Bergen, 1994. Graham, Peter, ed. The New Wave. Garden City: Doubleday, 1967. Hake, Sabine. The Cinema's Third Machine: Writing on Film in Germany 1907-1933. Lincoln and London, Canada: University of Nebraska Press, 1993. Hauser, Arnold. The Social History of Art. Vol. 2. London: Routledge & Kegan Paul Ltd, 1951. Hazlitt, William. "Lectures on the English Poets." The Complete Works of William Hazlitt. Ed. P.P. Howe. Vol. 5. London, 1930-1934. Honour, Hugh. Romanticism. London: Allen Lane, 1979.
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ii Abstract This thesis examines th
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iv me a Harriet Jenkins Award to as
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vi Chapter Seven Hollywood and Beyo
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1 Introduction My interest in the w
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3 Expressionist filmmakers such as
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5 strongly connected to the Romanti
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7 point, ignoring the larger body o
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9 Eisner’s and Kracauer’s argum
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11 Bazin (its leading contributor),
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13 and his deep respect for the inh
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15 tangible categories, particularl
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17 determining than the individual
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19 with Ward’s collaborators also
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21 to be very fruitful in terms of
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23 German critics. 72 Out of the Sh
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25 Finally, it examines local Expre
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27 Ward can be regarded as a “New
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29 was understood to stand for an e
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31 self-determining original, moreo
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33 erupting volcano is sublime to a
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35 was not strictly speaking, natur
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37 invaded academic classicism”.
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39 supreme value of the personal se
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Gothic Influences 41 The relationsh
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Expressionism 43 The darker side of
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45 that he was interested in this w
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47 Both the early films listed by H
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49 sense of Malfred’s increasing
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51 for the emotional states of its
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53 ambiguous”. 184 As discussed e
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55 imposed in industrial society, b
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57 New Zealand’s Expressionist an
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59 Were Warriors (Lee Tamahori, 199
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61 so effective about the film and
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63 parallels between the farm where
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65 than her, on the train to Jerusa
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67 “Even now, after hearing this
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69 Despite the difficulties, Judy m
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71 everything, but on the other han
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73 He was, in her view, “a very m
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75 He was far more interested in be
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77 good”. 260 Their attitude was
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79 my father’s stories that were
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81 offering one of the only filmmak
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83 have your foundations achieved.
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85 film theories and various moveme
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87 Right from the beginning of the
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89 there. 298 Victoria Stafford, a
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91 cinematography looks forward to
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93 subject. The end-of-year examina
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95 when she discussed it with Ward,
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97 Chapter 3 A State of Siege A Sta
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99 makers, but the vigorous physica
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101 that could respond to her work
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103 Malcolm Moore, an experienced s
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105 some important changes, is the
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107 changes transformed the somewha
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109 later form. Within a few weeks
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111 footsteps for scenes like the a
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113 negative-matcher for the “con
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115 director and White as producer
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117 stead. In many ways [it] perhap
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119 pointed out, has the effect of
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121 The next morning, Malfred waste
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123 Figure 2: Ending of A State of
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125 night is not yet over. Malfred
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127 magazines around the country (s
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129 film was praised for its evocat
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131 many of the new wave of New Zea
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133 Filmmakers, painters, craftsmen
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135 protagonist, instead of acting
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137 Chapter 4 In Spring One Plants
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139 major shaping force on New Zeal
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141 thought, because she was embarr
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143 speaks about his mother’s chi
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145 series) but about spirituality
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147 was an interest in discovering
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Production 149 During filming, the
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151 audience “might adversely aff
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153 essential footage”. After the
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155 of aesthetic must necessarily c
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157 have been made if I’d waited
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159 film is to argue that while it
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161 working order yet in an act sym
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163 Bilbrough also claims that due
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165 most appropriate, accurate and
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167 my van pull up. Niki had thrown
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169 traditional values is at least
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171 critical response to the film i
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173 the ability of the artist to cr
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175 Chapter 5 Vigil Ward’s involv
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177 they were the only solid basis
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179 just how much goes on the floor
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181 to the film in that, just befor
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183 initially hostile reaction to h
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185 They got the tractor going and
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187 between the scenes shot from To
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189 its side, only to hoist it vert
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191 Figure 4: Ending of Vigil. An e
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193 He shows her his world, the wor
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195 with the foreigner. Through sex
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197 to the detriment of his relatio
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199 This made him reluctant to comp
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201 for Morris to work closely with
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203 Vigil that enhances the sense o
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Visual Style 205 In terms of the de
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207 example, the shot of Elizabeth
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209 except possibly for the ballet
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211 than bread and butter. I think
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213 world - albeit seen through Eur
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215 Medieval Odyssey. This would re
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217 The idea for The Navigator orig
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219 Atoll in the South Pacific, was
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221 loosed from their moorings. Min
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223 Ward’s intention was not, how
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225 heaven but “a vision of hell
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227 negotiating this final deal for
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229 and had been warned by his doct
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231 shoot was lengthy by Australasi
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233 constraints on the film […].
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235 and there was going to have to
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237 Ward explained that: “I alway
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239 nineteenth-century mining music
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241 Figure 6: Storyboard of The Nav
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243 While the main crew on the shoo
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245 “a sort of Pilgrim’s Progre
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247 of the logic of nuclear deterre
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249 production, in Australia it is
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251 retelling the story of The Navi
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253 but Ulf’s beliefs seem more l
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255 belief and unbelief, faith and
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257 uncertainty, anxiety, and absur
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259 Chapter Seven Hollywood and Bey
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261 As Jonathan Rayner points out,
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263 executive at the studio approac
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265 stick on the wall of Ward’s b
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267 Canada, they were required to u
Page 277 and 278: 269 situation. 867 In an interview
Page 279 and 280: 271 praise the film’s imagery and
Page 281 and 282: 273 an Art Film […]. And as we we
Page 283 and 284: 275 divinely directed patterns. The
Page 285 and 286: 277 both on the outer edges of the
Page 287 and 288: 279 indicate that his motivation fo
Page 289 and 290: What Dreams May Come 281 Ward’s n
Page 291 and 292: 283 Ward wanted to get Robin Willia
Page 293 and 294: 285 engraver Doré, acknowledged by
Page 295 and 296: 287 The visual concept for the film
Page 297 and 298: 289 creating and building up decisi
Page 299 and 300: 291 gave him the key that enabled h
Page 301 and 302: 293 primary goal is money”. 959 H
Page 303 and 304: 295 escapism, but his emphasis on t
Page 305 and 306: 297 by the Government, which pays l
Page 307 and 308: 299 can completely affect the conte
Page 309 and 310: 301 The investors, who include busi
Page 311 and 312: 303 Conclusion The primary aim of t
Page 313 and 314: 305 reflected in the external envir
Page 315 and 316: 307 he formed a successful partners
Page 317 and 318: 309 time Romantic - and far removed
Page 319 and 320: 311 compromises inevitable in any c
Page 321 and 322: 313 commitment to the project. Once
Page 323 and 324: 315 story concept that included asp
Page 325 and 326: 317 also - in his most recent proje
Page 327: 319 Biskind, Peter. Down and Dirty
Page 331 and 332: 323 Koszarski, Richard. An Evening'
Page 333 and 334: 325 Romer, Richard Ira. "The Cinema
Page 335 and 336: 327 Campbell, Russell, and Miro Bil
Page 337 and 338: 329 ---. "The Navigator: A Medieval
Page 339 and 340: 331 Dart, William. "Interview with
Page 341 and 342: 333 Urban, Andrew. "Love on the Edg
Page 343 and 344: 335 1975 The Cave (as scriptwriter
Page 345 and 346: 337 Camera: Alun Bollinger Editor:
Page 347 and 348: 339 (Thelma), Marc Ruel (Photo Anal
Page 349 and 350: 341 All interviews were conducted i
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