Draft 2 PhD Introduction - ResearchSpace@Auckland

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v Table of Contents Abstract.............................................................................................................................ii Acknowledgments ...........................................................................................................iii List of Figures.................................................................................................................vii <strong>Introduction</strong>....................................................................................................................... 1 Literature Review: Romanticism.................................................................................. 4 Research and Literature Review: Expressionism ......................................................... 5 Theoretical Approach and Methodology ...................................................................... 9 Interviews.................................................................................................................... 19 Textual Research......................................................................................................... 21 Sequence of Chapters.................................................................................................. 24 Chapter One The Context of Romanticism and Expressionism .................................... 28 The European Romantic Tradition ............................................................................. 28 Gothic Influences........................................................................................................ 41 Expressionism............................................................................................................. 43 Contexts of Expressionism ......................................................................................... 53 New Zealand’s Expressionist and Gothic Traditions ................................................. 57 Chapter Two Ward’s Childhood and Education............................................................ 62 Childhood and Schooling............................................................................................ 62 Summing-Up Ward’s Family Background................................................................. 78 Ward’s Art School Training ....................................................................................... 80 Summing-Up Ward’s Art School Years ..................................................................... 95 Chapter 3 A State of Siege.............................................................................................. 97 Funding and Pre-Production ..................................................................................... 101 Production and Post-Production ............................................................................... 106 Marketing and Distribution....................................................................................... 113 Visual Style............................................................................................................... 118 Critical Reception ..................................................................................................... 126 European Influences ................................................................................................. 130 Summary................................................................................................................... 135 Chapter 4 In Spring One Plants Alone......................................................................... 137 Aims and Approach .................................................................................................. 141 Production................................................................................................................. 149 Reception .................................................................................................................. 157 Summary................................................................................................................... 171 Chapter 5 Vigil.............................................................................................................. 175 The Scripting Process ............................................................................................... 176 Production and Post-Production ............................................................................... 189 Visual Style............................................................................................................... 205 New Zealand /Universal Elements ........................................................................... 208 Summary................................................................................................................... 213 Chapter Six The Navigator: A Medieval Odyssey ....................................................... 216 Scripting and Research ............................................................................................. 222 Funding ..................................................................................................................... 226 Visual Style............................................................................................................... 236 Post-Production......................................................................................................... 238 The Narrative ............................................................................................................ 244 Critical Response ...................................................................................................... 248 Summary................................................................................................................... 257
vi Chapter Seven Hollywood and Beyond....................................................................... 259 Alien 3....................................................................................................................... 259 Map of the Human Heart .......................................................................................... 263 1993-1995 ................................................................................................................. 277 What Dreams May Come ......................................................................................... 281 Current Project.......................................................................................................... 296 Conclusion .................................................................................................................... 303 Bibliography ................................................................................................................. 318 Vincent Ward A Filmography ...................................................................................... 335 List of Interviews.......................................................................................................... 341
Page 1 and 2: http://researchspace.auckland.ac.nz
Page 3 and 4: ii Abstract This thesis examines th
Page 5: iv me a Harriet Jenkins Award to as
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 and 34: 25 Finally, it examines local Expre
Page 35 and 36: 27 Ward can be regarded as a “New
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
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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
Page 111 and 112:
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 […].
Page 243 and 244:
235 and there was going to have to
Page 245 and 246:
237 Ward explained that: “I alway
Page 247 and 248:
239 nineteenth-century mining music
Page 249 and 250:
241 Figure 6: Storyboard of The Nav
Page 251 and 252:
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
Page 259 and 260:
251 retelling the story of The Navi
Page 261 and 262:
253 but Ulf’s beliefs seem more l
Page 263 and 264:
255 belief and unbelief, faith and
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257 uncertainty, anxiety, and absur
Page 267 and 268:
259 Chapter Seven Hollywood and Bey
Page 269 and 270:
261 As Jonathan Rayner points out,
Page 271 and 272:
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
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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
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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
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305 reflected in the external envir
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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
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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
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 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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