Draft 2 PhD Introduction - ResearchSpace@Auckland

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336 1979 Sons for the Return Home (as art director) 117 minutes, 35mm colour Production Company: Pacific Films in association with the New Zealand Film Commission. Budget: approx. $420,000 Director: Paul Maunder Executive Producer: Don Blakeney Screenplay: Paul Maunder, based on a novel by Albert Wendt Director of Photography: Alun Bollinger Editor: Christine Lancaster Costume Designer: Christine Hansen Music: Malcolm Smith Sound: Don Reynolds, Brian Shennan Cast: Uelese Petaia (Sione), Fiona Lindsay (Sarah), Moira Walker (Sione’s mother), Lani Tupu (Sione’s father), Amalamo Tanielu (Malie), Anne Flannery (Sarah’s mother), Alan Jervis (Sarah’s father), Malama Masima (Receptionist), Sean Duffy (Sarah’s first love), Tony Groser (Headmaster), Peleti Lima (Sione aged 15). 1980 In Spring One Plants Alone (as scriptwriter, director and producer) 45 minutes, 16mm colour Production Company: Vincent Ward Film Productions Budget: approx. $23,000 Research: Vincent Ward, Alister Barry Camera: Alun Bollinger, Leon Narbey Editor: Chris Lancaster Music: Jack Body Sound: Steve Upston Production Assistants: Ken Sparks, David Coulson, Alistair Barry Sound Mix: Brian Shannon Stills: Miles Hargest Made with the assistance of the Education Department, the Queen Elizabeth II Arts Council and the New Zealand Film Commission Awards/Major Festivals: Silver Hugo Award at the Chicago Film Festival 1980; Grand Prix Winner at the 1982 Cinéma du Réel Festival. In 1980 it toured the USA with A State of Siege; this included a San Francisco Film Festival screening. 1982 Ward did two weeks of visual research for Geoff Murphy’s feature-film Utu, which went into production in 1982. 1984 Vigil (as director and co-scriptwriter) 91 minutes, 35 mm colour Production Company: John Maynard Productions Budget: just under $2 million Producer: John Maynard Executive Producer: Gary Hannam Associate Producer: Piers Davies Screenplay: Vincent Ward, Graeme Tetley
337 Camera: Alun Bollinger Editor: Simon Reece Production Designer: Kai Hawkins Costume Designer: Glenys Jackson Sound Recordist: Graham Morris Music: Jack Body Cast: Bill Kerr (Birdie), Fiona Kay (Toss), Gordon Shields (Justin Peers), Penelope Stewart (Elizabeth Peers), Frank Whitten (Ethan Ruir) Made with the assistance of the NZ Film Commission Awards/Major Festivals: Selected for Competition at the Cannes Film Festival 1984; Most Popular Film at the Prades Film Festival 1984; Best Film at the Imag Fic Festival 1985; Best Cinematography, Best Original Screenplay, Best Production Design New Zealand Listener Film and Television Awards 1986. 1988 The Navigator: A Medieval Odyssey (as director) 93 minutes, 35mm B&W/colour Production Company: Arenafilm and the Film Investment Corporation of New Zealand. Budget: $4.3 million Producer: John Maynard Co-producer/Executive Producer: Gary Hannam Screenplay: Vincent Ward, Kely Lyons, Geoff Chapple, from an original idea by Vincent Ward. Director of Photography: Geoffrey Simpson Camera Operator: Allen Guilford Editor: John Scott Production Designer: Sally Campbell Costume Designer: Glenys Jackson Research: Lynda Fairbairn, Alison Carter, Clare Shanks Special Effects Pyrotechnics: Ken Durey Special Effects Supervisor: Paul Nichola Music: Davood A. Tabrizi Sound: Dick Reade, Liz Goldfinch, Lee Smith, Peter Townend, Phil Judd Cast: Bruce Lyons (Connor), Chris Haywood (Arno), Hamish McFarlane (Griffin), Marshall Napier (Searle), Noel Appleby (Ulf), Paul Livingstone (Martin), Sarah Peirse (Linnet), Mark Wheatley (Tog 1), Tony Herbert (Tog 2), Jessica Cardiff-Smith (Esme), Roy Wesney (Grandpa), Kathleen-Elizabeth Kelly (Grandma), Jay Saussey (Griffin’s girlfriend), Charles Walker (Old Chrissie), Desmond Kelly (Smithy), Bill Le Marquand (Tom), Jay Lavea Laga’aia (Jay), Norman Fairley (Submarine Captain), Alister Babbage (Grigor) Made with the assistance of the Australian Film Commission and the NZ Film Commission Awards/Major Festivals: Official Selection in Cannes Film Festival 1988; Jury Prize, Best Film, Fanta Film Festival, Rome 1988; Best Film Cinema Fantastic, Sitges Film Festival, Spain 1988; Best Film, International Festival of Fantasy Films, Munich 1988; Australian Film Institute Awards for Best Film, Best Director, Best Cinematography, Best Editing, Best Production Design, Best Costume Design 1988; Best Film, Oporto Film Festival, USA 1989; Best Film, Best Male Performance, Hamish McFarlane, Best Female Performance in a Supporting Role, Sarah Peirse, Best Male Performance in a Supporting Role,
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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
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What Dreams May Come 281 Ward’s n
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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 and 340: 331 Dart, William. "Interview with
Page 341 and 342: 333 Urban, Andrew. "Love on the Edg
Page 343: 335 1975 The Cave (as scriptwriter
Page 347 and 348: 339 (Thelma), Marc Ruel (Photo Anal
Page 349 and 350: 341 All interviews were conducted i
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