Draft 2 PhD Introduction - ResearchSpace@Auckland

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332 ---. "The Navigator - Badly Off Course." North and South March 1989: 128. McNaughton, Howard. "Overflow Showing for Exciting New Zealand Film." Christchurch Press 14 July 1978: 4. Morrison, Alastair. "When Dreams Turn to Nightmares." The Dominion 23 June 1986. "New Zealand Director Gains Cannes Recognition." Evening Post 13 February 1984. “New Zealand Film a Work of Genius." Christchurch Press 14 July 1978: 4. "New Zealand Film: Vincent Ward." Craccum 19 March 1985: 14. O'Brien, Timothy. "Success Is Being a Good Liar." The Dominion 1 February 1989: 12. O'Toole, Leslie. "The Navigator." Pavement October/November 1998: 80-82. Parker, John. "Miner Masterpiece." Metro February 1989: 158-59. Peterson, Gilbert. "Film Portrait a Sensitive Document." Dominion 21 July 1980. Polger, Alfred. "Film." Berliner Tageblatt 1 Sep 1921. Reid, Nicholas. "A State of Siege." review. Auckland Star 29 July 1978: 8. Scott, Nancy. "Writing Poetry for the Screen." San Francisco Examiner 10 Feb 1981, sec. E: 1-3. Snow, Terry. "Isolation with Ice." New Zealand Listener 26 August 1989: 47. ---. "Performance: Visionary Force." New Zealand Listener 28 January 1989: 30-31. Stone, Judy. "A Hypnotic Look at an Old Woman." San Francisco Chronicle 11 February 1981: 61. Stratton, David. "Map of the Human Heart." Variety 1 June 1992. "The Film Biz of New Zealand." review. Los Angeles Times 27 July 1980. Thomas, Kevin. "New Zealand Women - Two Portraits." review. Los Angeles Times 14 March 1981. Thomson, Ainsley. "The River Queen Is Still Alive, Say Backers." NZ Herald 3 August 2004. Tierney, Mark. "Character and Pace." Listener 10 April 1993: 45-46. Tomlinson, P. "State of Siege." NZ Listener 20 October 1984: 32. Tremewan, Philip. "Vincent Ward." Onfilm (1983): 13-15.
333 Urban, Andrew. "Love on the Edge." The Bulletin 26 November 1991: 108-09. "Vigil." Variety 2 May 1984. "Vigil Wins Praise." Auckland Star 16 February 1985, sec. B: 4. Ward, Robert. "After Life." New Zealand Herald 5 November 1998, sec. D: 3. "Ward's Third Film." New Zealand Film: News for the New Zealand Film Commission October 1993: 12. Watson, Bruce. "Movie Escapes Thorndon Blaze." The Evening Post 10 April 1978. Werner, Tara. "A Mediaeval Craft." Southern Skies: 20-21. Westaway, Jane. "Vincent Ward: We'll Keep on Working." New Zealand Women's Weekly July 28 1986. Wilson, Simon. "A State of Siege." Salient 24 July 1978: 19. Wong, Helene. "Development Hell." Listener 21 November 1998: 34-35. ---. "In Living Colour." Listener 14 November 1998: 43. Young, David. "School for Young Filmmakers: Is It on the Right Course?" Christchurch Star 23 October 1971. Yuzwalk. "Peopletalk: Sidelines." More Magazine February 1989: 13. Zwartz, Sally. "Vincent: The Odyssey." On Film 6.2 (1989): 12-13. Unpublished Material Maurice Askew. "Course Outline for the Moving Image Department's Programme." Christchurch: University of Canterbury, 1974. "Course Regulations." Christchurch: University of Canterbury, 1978. Sam Gaoa. Unpublished interview with Vincent Ward, 17 October 1998. Turei Heke, letter to Jillian White, 2000. Roger Horrocks. Undated letters to Vincent Ward. Private collection of Roger Horrocks. Susan Pointon. Interview for <strong>PhD</strong> thesis with Tony Williams, November 1999. Sarah Salkild. E-mail to Lynette Read, 2 November 2002.
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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
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277 both on the outer edges of the
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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 and 336: 327 Campbell, Russell, and Miro Bil
Page 337 and 338: 329 ---. "The Navigator: A Medieval
Page 339: 331 Dart, William. "Interview with
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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