Draft 2 PhD Introduction - ResearchSpace@Auckland

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26 film, and the complex issues of national identity expressed within an international context, while the section on What Dreams May Come focuses on the film’s visual concept and special effects. Other projects Ward worked on during his years in Hollywood, such as the commercial he directed and films he acted in, are also briefly discussed to document his involvement in various aspects of film-making. The final chapter links back to earlier discussions of Ward as a New Zealand filmmaker by documenting his return to this country in the hope of realising his script “River Queen”. Despite the less detailed coverage of the later projects, I feel that the thesis achieves its main aims by focusing on the emergence of Ward’s aesthetic. The thesis clarifies this approach by analysing the way it developed – including the director’s background, training, and cultural sources. The thesis then proceeds to examine his early films in detail as case studies that help us to understand Ward’s aesthetic in terms of both practice and theory. While it would have been interesting to make equally detailed studies of all his films, this would have involved an extremely large thesis and greatly increased the research time and budget required. In general, I do not see the later films as significant departures from his earlier aesthetic. This is not to suggest that they are not deserving of detailed study and I hope that subsequent research can fill in some of the gaps. At the least, my thesis will provide generalisations – derived primarily from the earlier films – which can be tested against case studies of later work. While my thesis is basically chronological, followed by a conclusion that draws together common threads, it is clear that the vicissitudes of funding and production have made Ward’s career a highly complex one. Sadly what could have been the organic unfolding of the vision of an auteur has encountered a number of delays and setbacks – closer at times to the irregular career of an Orson Welles than to the regular output of many European auteurs. This study seeks to fill an important gap in the body of knowledge about New Zealand film in its examination of the career of Ward as a filmmaker who has had a significant influence on the development of the New Zealand film industry. In striving to define Ward’s aesthetic, using Expressionism and Romanticism as useful frames of reference, the thesis will also consider what differentiates it from that of other New Zealand filmmakers. As a corollary to this discussion, we will examine the extent to which
27 Ward can be regarded as a “New Zealand filmmaker”, given that his aesthetic is influenced by national traditions and context as well as by international trends. In general, then, my thesis will seek to provide a detailed survey of Ward’s films with particular reference to the emergence of his distinctive aesthetic. This “aesthetic” is studied from a variety of angles – as practice, as theory, and as formal characteristics (textual results). This study should help to illuminate a range of secondary interests including firstly, the activity of directing and the process of film production today, secondly, the usefulness of auteur criticism and the possibility of modifying it to take account of the full complexity of contemporary production contexts, and thirdly, the relevance of national cultural contexts in understanding the work of an individual director, within a global film industry.
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Page 3 and 4: ii Abstract This thesis examines th
Page 5 and 6: iv me a Harriet Jenkins Award to as
Page 7 and 8: vi Chapter Seven Hollywood and Beyo
Page 9 and 10: 1 Introduction My interest in the w
Page 11 and 12: 3 Expressionist filmmakers such as
Page 13 and 14: 5 strongly connected to the Romanti
Page 15 and 16: 7 point, ignoring the larger body o
Page 17 and 18: 9 Eisner’s and Kracauer’s argum
Page 19 and 20: 11 Bazin (its leading contributor),
Page 21 and 22: 13 and his deep respect for the inh
Page 23 and 24: 15 tangible categories, particularl
Page 25 and 26: 17 determining than the individual
Page 27 and 28: 19 with Ward’s collaborators also
Page 29 and 30: 21 to be very fruitful in terms of
Page 31 and 32: 23 German critics. 72 Out of the Sh
Page 33: 25 Finally, it examines local Expre
Page 37 and 38: 29 was understood to stand for an e
Page 39 and 40: 31 self-determining original, moreo
Page 41 and 42: 33 erupting volcano is sublime to a
Page 43 and 44: 35 was not strictly speaking, natur
Page 45 and 46: 37 invaded academic classicism”.
Page 47 and 48: 39 supreme value of the personal se
Page 49 and 50: Gothic Influences 41 The relationsh
Page 51 and 52: Expressionism 43 The darker side of
Page 53 and 54: 45 that he was interested in this w
Page 55 and 56: 47 Both the early films listed by H
Page 57 and 58: 49 sense of Malfred’s increasing
Page 59 and 60: 51 for the emotional states of its
Page 61 and 62: 53 ambiguous”. 184 As discussed e
Page 63 and 64: 55 imposed in industrial society, b
Page 65 and 66: 57 New Zealand’s Expressionist an
Page 67 and 68: 59 Were Warriors (Lee Tamahori, 199
Page 69 and 70: 61 so effective about the film and
Page 71 and 72: 63 parallels between the farm where
Page 73 and 74: 65 than her, on the train to Jerusa
Page 75 and 76: 67 “Even now, after hearing this
Page 77 and 78: 69 Despite the difficulties, Judy m
Page 79 and 80: 71 everything, but on the other han
Page 81 and 82: 73 He was, in her view, “a very m
Page 83 and 84: 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
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285 engraver Doré, acknowledged by
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287 The visual concept for the film
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289 creating and building up decisi
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291 gave him the key that enabled h
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293 primary goal is money”. 959 H
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295 escapism, but his emphasis on t
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297 by the Government, which pays l
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299 can completely affect the conte
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301 The investors, who include busi
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303 Conclusion The primary aim of t
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305 reflected in the external envir
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307 he formed a successful partners
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309 time Romantic - and far removed
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311 compromises inevitable in any c
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313 commitment to the project. Once
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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
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321 Elgar, Dietmar. Expressionism.
Page 331 and 332:
323 Koszarski, Richard. An Evening'
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325 Romer, Richard Ira. "The Cinema
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327 Campbell, Russell, and Miro Bil
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329 ---. "The Navigator: A Medieval
Page 339 and 340:
331 Dart, William. "Interview with
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333 Urban, Andrew. "Love on the Edg
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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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