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This book is the first ever collection on diasporic screen production in New Zealand. Through contributions by a diverse range of local and international scholars, it identifies the central characteristics, histories, practices and trajectories of screen media made by and/or about migrant and diasporic peoples in New Zealand, including Asians, Pacific Islanders and other communities. It addresses issues pertinent to representation of migrant and diasporic life and experience on screen, and showcases critical dialogues with directors, scriptwriters, producers and other key figures whose work reflects experiences of migration, diaspora and multiculturalism in contemporary New Zealand. With a foreword by Hamid Naficy, the key theorist of accented cinema, this comprehensive collection addresses essential questions about migrant, multicultural and diasporic screen media, policies of representation, and the new aesthetic styles and production regimes emerging from New Zealand film and TV. Migrant and Diasporic Film and Filmmaking in New Zealand is a touchstone for emerging work concerned with migration, diaspora and multiculturalism in New Zealand’s screen production and practice.
This book conceptualises the ways in which video has created a pedagogy for current learning and teaching practices, disciplines, and environments. It brings together the concepts and practice of video as pedagogy by providing theoretical discussion and practical guidance and recommendations on the use of video in learning and teaching, drawing on a wide range of case studies including nursing education, business education, architectural education, engineering, mathematics, physical education, science education, and screen production. Part I focuses on ‘video, students and learning’ and Part II on ‘video, teachers and practice’. The book covers various perspectives on the concept and use of video in learning and teaching: developing students’ practical skills and knowledge; using video for teaching culturally sensitive topics and cultural competency; for feedback, reflection, training and professional development; making and producing videos for educational purposes, with discussion on techniques, devices, software and strategies.
Innovative study of Taika Waititi, whose Maori and Jewish roots influence his distinctive New Zealand comedic style. Eye of the Taika: New Zealand Comedy and the Films of Taika Waititi is the first book-length study of comic film director and media celebrity Taika Waititi. Author Matthew Bannister analyses Waititi's feature films and places his other works and performances—short films, TV series, advertisements, music videos, and media appearances—in the fabric of popular culture. The book's thesis is that Waititi's playful comic style draws on an ironic reading of NZ identity as Antipodean camp, a style which reflects NZ's historic status as colonial underdog. The first four chapters of Eye of the Taika explore Waititi's early life and career, the history of New Zealand and its film industry, the history of local comedy and its undervaluation in favor of more "serious" art, and ethnicity in New Zealand comedy. Bannister then focuses on Waititi's films, beginning with Eagle vs Shark (2007) and its place in "New Geek Cinema," despite being an outsider even in this realm. Bannister uses Boy (2010) to address the "comedian comedy," arguing that Waititi is a comedic entertainer before being a director. With What We Do in The Shadows(2014), Bannister explores Waititi's use of the vampire as the archetypal immigrant struggling to fit into mainstream society, under the guise of a mockumentary. Waititi's Hunt for the Wilderpeople(2016), Bannister argues, is a family-friendly, rural-based romp that plays on and ironizes aspects of Aotearoa/New Zealand identity. Thor: Ragnarok(2017) launched Waititi into the Hollywood realm, while introducing a Polynesian perspective on Western superhero ideology. Finally, Bannister addresses Jojo Rabbit (2019) as an "anti-hate satire" and questions its quality versus its topicality and timeliness in Hollywood. By viewing Waititi's career and filmography as a series of pranks, Bannister identifies Waititi's playful balance between dominant art worlds and emergent postcolonial innovations, New Zealand national identity and indigenous Aotearoan (and Jewish) roots, and masculinity and androgyny. Eye of the Taika is intended for film scholars and film lovers alike.
Facilitating Community Research for Social Change asks: what does ethical research facilitation look like in projects that seek to move toward social change? How can scholars weave political and social justice through multiple levels of the research process? This edited collection presents chapters that investigate research facilitation in ways that specifically attempt to disrupt and challenge anti-Indigenous and anti-Black racism, ableism, homophobia, transphobia, patriarchy, and sexism to work toward social change. It also explores what it means to develop facilitation practices across multiple contexts and research settings, including specific facilitation methods considered by researchers working with visual and community-based methods with Black, Indigenous, and racialized communities. The complexities of how scholars negotiate decisions within their research with people and communities have an effect not only on how researchers construct their participants and communities, but also on the overall purpose of projects, the ways their projects are shared and disseminated, and what is learned in the doing of facilitation. This book will be of great interest to both emerging and established researchers working within the social sciences. It specifically attends to diverse fields within the social sciences that include health, media studies, environmental studies, social work, sociology, education, participatory visual research methodologies, as well as the evolving field of digital humanities.
A singular collection of original essays exploring the varied intersections of motion pictures and public value A Companion to Motion Pictures and Public Value presents a cross-disciplinary investigation of the past, present, and possible future contributions of the moving image to the public good. This unique volume explores the direct and indirect public value developed through motion pictures of different types, genres, and screening sites. Essays by world-renowned scholars from diverse disciplines present original conceptual work, philosophical arguments, historical discussion, empirical research, and specific case studies. Divided into seven thematically organized sections, the Companion identifies the various kinds of values that motion pictures can deliver, amongst them artistic, ethical, environmental, cultural, political, cognitive, and spiritual value. Each section includes an introduction in which the editors outline main themes and highlight connections between individual chapters. Throughout the text, probing essays interrogate the issue of public value as it relates to the cinema and provide insight into how motion pictures play a positive role in human life and society. Featuring original research essays on a pioneering topic, this innovative reference text: Brings together work by expert authors in disciplines such as Philosophy, Political Science, Cultural Studies, Film Studies, Sociology, and Environmental Studies Discusses a variety of institutional landscapes, policy formations, and types and styles of filmmaking Provides wide and inclusive coverage of cinema’s relation to public value in Africa, Asia, China, Europe, the Middle East, and the Americas Explores the role of motion pictures in community formation, nation building, and the construction of good societies Covers new and emerging topics such as cinema-based fields focused on health and wellbeing A Companion to Motion Pictures and Public Value is an ideal textbook for advanced undergraduate and graduate courses in Film, Media, and Cultural Studies, and is a valuable resource for scholars across a variety of disciplines
Conceptualizing production studies from a European perspective, the book evaluates the history of European thought on production: theories of practice, the languages, grammars, and poetics of film, practical theories of production systems such as film dramaturgy, and the self-theorizing of European auteurs and professionals.
From the medium's inception, films have defined and reinforced the core values and social structures of countries. They have also helped define - socially and culturally - what is to be considered outside the nation and what it is to be shunned. This text examines the ways in which cinema has been considered an arena of conflict and interaction between nations and nationhood.
This book is an upper-level student source book for contemporary approaches to media studies in Asia, which will appeal across a wide range of social sciences and humanities subjects including media and communication studies, Asian studies, cultural studies, sociology and anthropology. Drawing on a wide range of perspectives from media and communications, sociology, cultural studies, anthropology and Asian studies, it provides an empirically rich and stimulating tour of key areas of study. The book combines theoretical perspectives with grounded case studies in one up-to-date and accessible volume, going beyond the standard Euro-American view of the evolving and complex dynamics of the media today.
In American Migrant Fictions: Space, Narrative, Identity, Sonia Weiner focuses on novels of five American migrant writers of the late twentieth and early twenty-first centuries, who construct spatial paradigms within their narratives to explore questions of linguistic diversity, identities and be-longings. By weaving visual techniques within their narratives (photography, comics, cartography) authors Aleksandar Hemon, G.B. Tran, Junot Díaz, Boris Fishman and Vikram Chandra convey a surplus of perspectives and gesture towards alternative spaces, spatial in-between-ness and transnational space.