Body In The New Zealand Film Industry example essay topic

Introduction When I first saw this topic I thought I would have an easy job to talk about the development of film in New Zealand. How much could there be on the subject? As I researched further into this area I discovered there was a lot behind the development of film in Aotearoa, which has lead to the industry as we know it. I think that when you look at film development in this country you have to split it up into several factors, the history, the filmmakers and their films. The History Film began in New Zealand in 1896 with the first public screening of moving pictures, but it was to be two years later before film was actually produced here.

(Sowry, 1984). The film footage was shot by A.H. Whitehouse and showed the opening of the Auckland Exhibition in 1898. "The few film makers working in New Zealand before 1920 concentrated on shooting news films... Very few dramatic films were made" (Sowry, 1984, p. 3). It wasn't until 1914 that the first New Zealand feature film, Hine moa, was released. When sound on film - or talkies as they were commonly known, arrived in 1929 it revolutionise d the film industry.

"With their arrival, the silent era of film-making... was effectively over" (Price, 1996, p. 33). However it was expensive to install sound on film and many picture theatres were forced to close, as audiences demanded talkies. Edwin Coubray became the first New Zealander to put sound on film in the same year that talkies were introduced from overseas. He used equipment that he designed himself and produced the Coubray-tone news. It was 1935 before the first talkie feature film appeared; Down on the Farm, produced by Stewart Pitt and Lee Hill.

Only another three feature-length talkies were to be produced in New Zealand before World War II and "the next three decades saw only four further feature films produced in New Zealand" (Price, 1996, p. 74). Commercial television, which emerged in 1960 further added to the decline in the film industry. There was a downturn in the number of people attending the cinema. The government run television production companies turned independent filmmakers away. They were only prepared to pay the same amount for New Zealand films as for overseas productions that had already recouped their costs. "Because of the way the industry was structured there was no funding and no market for New Zealand films.

The only motivation for film makers was their commitment and passion for making films" (Murphy, 1992, p. 133). Towards the end of the 1970's the independent filmmakers rallied together and fought for the establishment of the film commission for funding of feature films. At this time filmmakers were working for the love of film. Budgets were small and production problems were solved with "intelligence rather than money" (Murphy, 1992, p. 146-147) however the industry was still not viable. In 1980 lawyers and tax accountants found loopholes in the NZ tax laws, which allowed film production to become a means of obtaining tax relief. This loophole was subsequently closed and films already in production were given until the end of 1984 to finish production.

Once the tax shelter ended production costs had risen (wages etc). The public had become disillusioned with New Zealand films because during the tax shelter time the films hadn't needed to be good to make money for the investors. Investors no longer wanted to invest as there was no tax relief, a small market, and notoriously bad films had been made. During the next two decades, New Zealand filmmakers returned to making film for the love of it and refined their skills. Many films were made during this period that numerous New Zealanders will remember, the culmination of which was Lord of the rings in 2001, which was the first New Zealand film to reach the top 10 in the world ranking at the box office ("NZ Film", 2002). The Filmmakers Rudall Hayward Rudall Hayward was one of the pioneers of film making in New Zealand.

His film career started in the silent era with the film, My Lady of the cave. During his career he made over thirty films. Although, despite a small budget, few of his films ever made any money, he persevered and devoted his time to making distinctly New Zealand films. He died in 1974 whilst on the road promoting his last film To Love a Maori. ("Celluloid Dreams", 1997). John O'Shea John O'Shea is recognized as being instrumental in keeping the independent film industry alive during the 1940's to 1970's.

He directed all of the three movies that were made during this time. During his life he made over two hundred documentaries and received many awards for his contribution to New Zealand film. Geoff Murphy Geoff Murphy was prompted to get into film making by his friends who were making 'dreadfully and embarrassingly bad' films (Murphy, 1992, p. 130). He became famous for his film goodbye pork pie.

His other films include Utu, The Quiet Earth, Never say die and more recently, Under Siege II and Dante's Peak. Jane Campion Jane Campion became a household name when she directed The Piano. The film won three Oscars and was joint winner of the Golden Palm Award in 1993 with Farewell my Concubine. Before The Piano she directed An Angel at my table, which was voted most popular film at the 1990 Sydney film festival and won seven awards at the 1990 Venice film festival.

Peter Jackson No look at New Zealand filmmakers would be complete without mentioning Peter Jackson, perhaps the best-known filmmaker in New Zealand today. Peter Jackson first made a name for himself at the 1988 Cannes film festival with the film Bad Taste. Since then he has made Meet the Feeble's, Brain dead, Frighteners and more recently The Lord of the Rings Trilogy. Where to now? Since the beginning of film in New Zealand, filmmakers have struggled with small budgets, minimal tax breaks and small markets for their films. Traditionally investors have not wanted to invest into New Zealand films because of these factors.

Yet we are constantly surrounded by news of new movies that are in production or have won awards at various film festivals. What makes it any different now? Really it isn't any different now. Investors are still hesitant to invest in uniquely New Zealand films, as these films have not had the returns of films based on the traditional big budget Hollywood storyline. Local filmmakers have still had to spend time chasing money for their projects.

With Ihimaera, author of Whale Rider says "Their industry is rats hit, it eats you up, spits you out, and you " re lucky if you " ve got enough energy after you " ve gone through the process of getting all this money together to make a movie. I take my hat off to any body in the New Zealand film industry". (Matthews, 2003, p. 21). It seems that New Zealand filmmakers are reluctant to make films with New Zealand content.

This may be due to lack of support, lack of money or lack of interest. In fact "The film industry is a disaster in New Zealand in terms of telling New Zealand stories. Last year we didn't even have a film-awards ceremony because there weren't enough local films". (Ward, 2003, quoted in Hansen, 2003, p. 19). The question is, is it important to make New Zealand films? I would argue that it is important.

It is important to maintain a cultural identity and to have that culture on film for future generations. Culture is important to many people and it defines who you are. Foreign investors are now realizing that they can produce films at a lower cost in New Zealand than elsewhere. Whilst this has many benefits for the New Zealand economy, it also has many negative effects. "Everywhere the American industry has gone, the local industry has, in almost every case, collapsed except as a service industry for incoming productions" (Ward, 2003, quoted in Hansen, 2003, p. 19). This happens because the production prices go up and local filmmakers can no longer afford to finance their films.

So is New Zealand heading in the direction of becoming a backdrop for big budget Hollywood films, and in doing so making it even more difficult for local filmmakers to independently finance good New Zealand films of cultural importance? It would seem that this is the case. The most talked about 'New Zealand' movie at the moment is Lord of the Rings but this is not a New Zealand story. Films that have been or are to be filmed in New Zealand like The Last Samurai and King Kong are not New Zealand stories.

If New Zealand filmmakers concentrate on making Hollywood style films they will have to compete with the big budget films and expertise of Hollywood producers. Emerging New Zealand filmmakers won't get a look in, as they do not have the experience, the money or investors willing to trust their potential. In the future I see there being even less New Zealand films and more Hollywood style films with Hollywood directors, unless the Government and the New Zealand Film Commission inject more incentives and more finance for filmmakers in New Zealand.

Bibliography

Churchman, G. (Ed. ). (1997).
Celluloid Dreams. Wellington: IPL Publishing Services. Drumm, K. (Ed. ). (2002, May).
New Zealand Movie wins four Oscars. NZ Film, pp. 10-11. Hansen, J. (2003, January 25-31).
Trouble in Taradise? Listener, p. 19. Matthews, P. (2003, February 1-7).
Myth Making. Listener, pp. 18-21. Murphy, G. (1992).
The end of the beginning. In J. Dennis & J. Bier inga (Eds. ), Film in Aotearoa New Zealand (pp. 130-149). Wellington: Victoria University Press. Price, S. (1996).
New Zealand's first talkies. Dunedin: Otago Heritage Books. Sowry, C. (1984).