Draft 2 PhD Introduction - ResearchSpace@Auckland

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322 Horrocks, Roger. Vincent Ward: The New Zealand Film Makers at the Auckland City Art Gallery Series. Auckland: Auckland City Art Gallery, 1985. Huaco, George. The Sociology of Film Art. New York; London: Basic Books Inc, 1965. Hughes, Peter. The Navigator: A Medieval Odyssey Study Guide. Canberra: Ronin Films, 1989. Hughes, Robert. The Shock of the New: Art and the Century of Change. Updated and enlarged ed. London: Thames & Hudson, 1980 and1991. Jacobs, Lewis, ed. The Emergence of Film Art. New York: Hopkinson & Blake, 1969. Jones, Lawrence. Barbed Wire and Mirrors: Essays on New Zealand Prose. Dunedin: University of Otago Press, 1990. Jones, Stan. Projecting a Nation: New Zealand Film and Its Reception in Germany. Studies in New Zealand Culture, No 3. Nottingham: Kakapo Books, 1999. Jung, Uli, and Walter Schatzberg, eds. Filmkultur Zur Zeit Der Weimarer Republik. Munich: K.G.Saur, 1992. Kael, Pauline. 5001 Nights at the Movies. New York: Holt, Rinehart & Winston, 1982. ---. Hooked. New York: E.P.Dutton, 1985. Kaes, Anton. From Hitler to Heimat: The Return of History as Film. Cambridge, Massachusetts: Harvard University Press, 1989. Kaplan, E. Ann. Women in Film Noir. London: British Film Institute, 1978. Kayser, Wolfgang. The Grotesque in Art and Literature. Trans. Ulrich Weisstein. Bloomington, USA: Indiana University Press, 1957. King, Michael. Being Pakeha: An Encounter with New Zealand and the Maori Resistance. Auckland: Hodder & Stoughton, 1985. ---. At the Edge of Memory: A Family Story. Auckland: Penguin Books, 2002. Klein, Mina C., and H. Arthur Klein. Käthe Kollwitz: Life in Art. New York: Holt, Rheinhart & Winston, 1972. Kobal, John, ed. Great Film Stills of the Silent Era. Toronto: General Publishing Co Ltd, 1981. Korte, Helmut, ed. Film Und Realität in Der Weimarer Republik. Munich: Carl Hanser Verlag, 1978.
323 Koszarski, Richard. An Evening's Entertainment: The Age of the Silent Feature Picture, 1915-1928. History of the American Cinema Series. Ed. Charles Harpole. Berkeley: University of California Press, 1990. Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton, New Jersey: Princeton University Press, 1947. Kreimeier, Klaus. The Ufa Story: A History of German's Greatest Film Company 1918- 1945. USA: Hill & Wang, 1996. Kurtz, Rudolf. Expressionismus Und Film. Berlin: Lichtbildbuhne, 1926. Labbe, Jacqueline M. Romantic Visualities: Landscape, Gender and Romanticism. Basingstoke: Macmillan Press, 1998. Ladurie, Emmanuel le Roy. Montaillou: Cathars and Catholics in a French Village. Trans. Barbara Bray. London: Scolar, 1978. Lapsley, Robert , and Michael Westlake. Film Theory: An <strong>Introduction</strong>. Manchester: Manchester University Press, 1988. Laqueur, Walter. Weimar: A Cultural History 1918-1933. London: Weidenfeld and Nicolson, 1974. Lloyd, Jill. German Expressionism: Primitivism and Modernity. New Haven: Yale University Press, 1991. Manvell, Roger, and Heinrich Fraenkel. The German Cinema. London: J.M. Dent & Sons Ltd., 1971. Manz, J.P., ed. Deutsche Filmwochen: Eine Bildchronik Mit Vollständigen Programmteil (Als Beilage). Zurich: Rialto-Film A.G., 1962. Martin, Helen, and Sam Edwards. New Zealand Film 1912-1996. Auckland: Oxford University Press, 1997. McDonnell, Brian. "The Translation of New Zealand Fiction into Film." <strong>PhD</strong>. Auckland, 1986. ---. Fresh Approaches to Film. Auckland: Addison, Wesley, Longman NZ Ltd, 1998. Murray, Bruce. Film and the German Left in the Weimar Republic: From "Caligari" to "Kuhle Wampe". Austin, Texas: University of Texas Press, 1990. Murray, Bruce, and Christopher J. Wickham, eds. Framing the Past: The Historiography of German Cinema and Television. Carbondale; Edwardsville, USA: Southern Illinois University Press, 1992. Murray, Scott, ed. Australian Film 1978-1992. Melbourne: Oxford University Press, 1993.
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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
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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 and 328: 319 Biskind, Peter. Down and Dirty
Page 329: 321 Elgar, Dietmar. Expressionism.
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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