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Journal of New Zealand and Pacific Studies最新文献

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Reframing early Australasian cinema: Trans-Tasman exchanges during the silent film period 重构早期澳大拉西亚电影:默片时期的跨塔斯曼交流
Q2 Arts and Humanities Pub Date : 2018-10-01 DOI: 10.1386/NZPS.6.2.107_1
T. O’Regan, Alfio Leotta
The histories of New Zealand and Australian film production, distribution and exhibition have been characterized by significant exchanges in terms of culture, technology, creative personnel and policy approaches. Despite forming a persistent characteristic of the film industries of both countries, these connections have so far been either ignored or under-examined. This article investigates the technological, industrial, economic and cultural factors that influenced the relationship between Australian and New Zealand filmmaking during the early period of cinema until the 1930s. During this period, film production and distribution in New Zealand and Australia was conceived as an Australasian initiative characterized by both extensive labour mobility and an integrated film market. Early Australasian filmmakers moved seamlessly across the Tasman, producing films both in Australia and in New Zealand and contributing to both national cinematic traditions. This article argues that to fully grasp the histories of Australian and New Zealand film, it is essential to consider the contribution that these Australasian filmmakers made to the cultural, technological and industrial development of both national cinemas.
在新西兰和澳大利亚的电影制作、发行和放映的历史上,两国在文化、技术、创作人员和政策方法等方面有着重大的交流。尽管形成了两国电影产业的持久特征,但这些联系迄今为止要么被忽视,要么被忽视。本文从技术、工业、经济和文化等方面考察了影响澳大利亚和新西兰在电影发展初期直至20世纪30年代电影制作关系的因素。在此期间,新西兰和澳大利亚的电影制作和发行被认为是澳大利亚的一项倡议,其特点是广泛的劳动力流动和一体化的电影市场。早期的澳大拉西亚电影人在塔斯曼海峡无缝移动,在澳大利亚和新西兰制作电影,为两国的电影传统做出贡献。本文认为,要全面掌握澳大利亚和新西兰电影的历史,必须考虑这些澳大利亚电影人对两国电影文化、技术和工业发展的贡献。
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引用次数: 1
Special issue: New Zealand and Pacific film 特刊:新西兰与太平洋电影
Q2 Arts and Humanities Pub Date : 2018-10-01 DOI: 10.1386/NZPS.6.2.101_2
I. Conrich, L. Sedgwick
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引用次数: 0
The force awakens: Mana as causal agent in Pacific narrative cinemas 原力觉醒:玛娜在太平洋叙事电影中扮演因果角色
Q2 Arts and Humanities Pub Date : 2018-10-01 DOI: 10.1386/NZPS.6.2.121_1
Yifen T. Beus
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引用次数: 0
‘Vampires don’t do dishes’: Old myths, the modern world, horror and the mundane in What We Do in the Shadows (2014) 《我们在阴影中做的事》(2014):“吸血鬼不洗碗”:古老的神话、现代世界、恐怖和平凡
Q2 Arts and Humanities Pub Date : 2018-10-01 DOI: 10.1386/NZPS.6.2.137_1
A. Wright
The New Zealand horror-comedy What We Do in the Shadows (2014) emerged at a time when contemporary cinema had been showing a renewed and sustained interest in vampire fiction. Whilst it was not the first to offer a humorous reworking of vampire mythology, this parody comes from a strong tradition in New Zealand cinema of disrupting genres, an approach which can be observed, for instance, in Peter Jackson’s early work. What We Do in the Shadows is notable as it creatively utilises generic tropes and intertextual references whilst relocating supernatural creatures of the old world into a contemporary Wellington. As this article argues, the comic potential is opened up in the film by a particular convergence of the spectacular and the mundane. In this environment, blood-drinking and the practicing of the dark arts, sits alongside everyday domestic tasks and cleaning rotas in a household of vampires. The film, it will be established, not only challenges and disrupts established horror genre conventions and expectations by repositioning them in a sitcom format, it also playfully engages with representations of masculinity and the homosocial in a house share environment. Additionally, by positioning the narrative in a New Zealand context, the film is able to localize the myths and stories of the old world and thus further destabilize recognized generic traditions.
新西兰恐怖喜剧《我们在阴影中做什么》(2014)问世时,当代电影正对吸血鬼小说表现出新的、持续的兴趣。虽然这不是第一部对吸血鬼神话进行幽默改编的电影,但这部戏仿之作来自新西兰电影中颠覆类型的强大传统,这种方法可以在彼得·杰克逊的早期作品中观察到。我们在阴影中做的事情是值得注意的,因为它创造性地利用了通用的比喻和互文参考,同时将旧世界的超自然生物重新安置到当代惠灵顿。正如这篇文章所说,喜剧的潜力在电影中通过壮观和平凡的特殊融合而被打开。在这种环境下,吸血和练习黑魔法,与吸血鬼家庭的日常家务和清洁工作并列。可以肯定的是,这部电影不仅挑战和颠覆了既定的恐怖类型传统和期望,将它们重新定位为情景喜剧的形式,而且还开玩笑地表现了合租环境中的男子气概和同性恋社会。此外,通过将叙事定位在新西兰的背景下,这部电影能够将旧世界的神话和故事本地化,从而进一步破坏公认的一般传统。
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引用次数: 1
Contested terrains of identity and home: Coming of age, belonging and Māori-Pākehā relations in Taika Waititi’s Hunt for the Wilderpeople (2016) 身份和家园的竞争地形:Taika Waititi的《荒野猎人》(2016)中的成年、归属和毛利关系
Q2 Arts and Humanities Pub Date : 2018-10-01 DOI: 10.1386/NZPS.6.2.151_1
Eva Rueschmann
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引用次数: 0
期刊
Journal of New Zealand and Pacific Studies
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