Draft 2 PhD Introduction - ResearchSpace@Auckland

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328 Kurtz, Rudolf. "Die Buchbesprechung: Expressionismus." Film (Germany) 4.2 (1966): 37. Lawn, Jenny. Massey Magazine. 2001. e-journal. Massey University. Available: http://masseynews.massey.ac.nz/magazine/2001_Nov/stories/gothic.html. 7 Aug 2002. Legrande, Gerard. "Alors, Comme La Nuit Vieillissant (À Propos De La Retrospective Expressionniste)." Positif.73 (1966): 31-41. Leprohon. "Le Cinéma Allemand." Le Rouge et le Noir.Cahier Spécial (1928): 134-43. Leutrat, Paul. "Actualité De L'expressionnisme." Cinéma.70 (1962): 89-97. ---. "Actualité De L'expressionnisme." Cinéma.71 (1962): 91-110. ---. "Actualité De L'expressionnisme." Cinéma.69 (1962): 80-97. Lewis, Brent. "F&F Special Report." Films and Filming.413 (1989): 10-12. Magrid, Ron. "Dream Weavers." American Cinematographer 79.11 (1998): 42-51. Martin, Helen. "In Spring One Plants Alone: A Matter of Seeing It." Alternative Cinema 12.3&4 (1984): 10-12. ---. "Vincent's Vigil." Alternative Cinema Magazine 12.3 & 4 (1984-5): 15-18. Matthews, Peter. "What Dreams May Come." Sight and Sound 9.1 (1999): 59-61. McIntyre, Steve. "National Film Cultures: Politics and Peripheries." Screen 26.1 (1985): 66-76. Meek, Allen. "New Zealand Cinema Leaves Home." NZ Journal of Media Studies 3.1 (1996): 40-45. Mita, Merata. "The Soul and the Image." Film in Aotearoa New Zealand. Eds. Jonathan Denis and Jan Bieringa. Wellington: Victoria University Press, 1992. 36-51. Mitchell, Tony. "Vincent Ward: The Eloquence of Isolation." Art New Zealand 30.Autumn (1984): 36-39. Nayman, Michelle. "The Navigator: Vincent Ward's Past Dreams of the Future." Cinema Papers.69 (1988): 30-31. Newman, Kim. "Never Say Die." Sight and Sound 8.12 (1998): 18-21. Parekowhai, Cushla. "Where the Green Ants Really Dream." Photofile 6.3 (1988): 6-10. Potamkin, Harry Alan. "The Rise and Fall of German Film." Cinema.3 (1930): 24-59. Pulleine, Tim. "The Navigator." Films and Filming.413 (1989): 34-35.
329 ---. "The Navigator: A Medieval Odyssey." Monthly Film Bulletin (1989): 144-45. Sagan, Leontine. Cinema Quarterly 1.4 (1933). Salt, Barry. "From Caligari to Who?" Sight and Sound 48.2 (1979): 119-23. Sandras, Michel. "M Le Maudit Et L'expressionnisme." Image et Son.169 (1964): 71- 75. Sarris, Andrew. "Notes on the Auteur Theory in 1962." Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. 5th ed. New York: Oxford University Press, 1974. 515-18. Scott, Eion. "An Allegoration of Fantasy." Signature 14.3 (1989): 38-40. Simmons, Lawrence. "Navigating Vincent Ward." Illusions.34 (2000): 46-47. Strauss, Bob. "Making Dreams Come True." Animation Magazine 12.11 (1998): 26. Strick, Philip. "Map of the Human Heart." Sight and Sound 3.6 (1993): 58-59. Titford, John. "Object-Subject Relationships in German Expressionist Cinema." Cinema Journal 11-14.1 (1973): 17-24. Tremewan, Philip. "A State of Siege." Education 30.4 (1981): 37. Vacche, Angela Dalle. "Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema." Post Script 14.3 (1995): 25-36. "Vincent Ward: Arthouse Madman." Ad/Media 11.3 (1996): 18-19. Ward, Diana. "That Personal Quality." Photo and Audio 1.11 (1980): 44-45. Watson, Chris. "The Navigator." Sites: A Journal for Radical Perspectives on Culture and Art.20 (1990): 140-47. ---. "New Zealand Feature Films: Their State and Status." New Zealand Sociology 3.2 (1988): 79-96. Weisstein, Ulrich. "Expressionism; Style or Weltanschauung?" Expressionism as a Literary Phenomenon. Ed. Willett. Paris: Didner and Akademiai, 1973. 29-44. Wilmington, Michael. "Firestorm and Dry Ice." Film Comment 29.3 (1993): 51-54. Wollen, Peter. "From Signs and Meaning in the Cinema: The Auteur Theory." Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. 5th ed. New York; Oxford: Oxford University Press, 1974. 519-35.
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http://researchspace.auckland.ac.nz
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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
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271 praise the film’s imagery and
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273 an Art Film […]. And as we we
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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 and 330: 321 Elgar, Dietmar. Expressionism.
Page 331 and 332: 323 Koszarski, Richard. An Evening'
Page 333 and 334: 325 Romer, Richard Ira. "The Cinema
Page 335: 327 Campbell, Russell, and Miro Bil
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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