CATALOG
Rousing from the darkness in the films of Jane Campion
To celebrate Global Women’s Day, the Nga Taonga Sound & Vision will sponsor a film festival for all women. Admission is free for all women. This film festival will run three days. All the films are directed by Jane Campion. To introduce these films, Jane Campion will talk about her personal experience and thoughts about her film career. There will be a complimentary lunch for guests. You are welcome to attend Jane Campion’s film festival.
Contents Director
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Jane Campion Lunatic Women Insane Cannes Lift isn’t a Career Filmography
06 08 10 12 17
Sweetie An Angle at My Table The Piano The Portrait of a Lady
22 24 26 28
Holy Smoke
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Films
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Film Festival
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New Zealand Location Schedule Plan Your Journey
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I would love to see more women directors because they represent half of the population, and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.”
01 —Jane Campion
“I would love to see more women directors because they represent half of the population, and gave birth to the whole world.” —Jane Campion
Jane Campion was born in Wellington, New Zealand, and now lives in Sydney, New South Wales, Australia. Having graduated with a BA in Anthropology from Victoria University of Wellington in 1975, and a BA, with a painting major, at Sydney College of the Arts in 1979, she began filmmaking in the early 1980s, attending the Australian School of Film and Television. Her first short film, Peel (1982) won the Palme D’Or at the Cannes Film Festival in 1986. Her other short films include Passionless Moments (1983), A Girl’s Own Story (1986), 0086858 and the telefeature 2 Friends (1986) (TV), all of which won Australian and international awards. She co-wrote and directed her first feature film, Sweetie (1989), which won the Georges Sadoul prize in 1989 for Best Foreign Film, as well as the LA Film Critics’ New Generation Award in 1990, the American Independant Spirit Award for Best Foreign Feature, and the Australian Critics’ Award for Best Film, Best Director and Best Actress. She followed this with An Angel At My Table (1990), a dramatization based on the autobiographies of Janet Frame which won some seven prizes, including the Silver Lion at the Venice Film
Festival in 1990. It was also awarded prizes at the Toronto and Berlin Film Festivals, again winning the American Independent Spirit Award, and was voted the most popular film at the 1990 Sydney Film Festival The Piano (1993) won the Palme D’Or at Cannes, making her the first woman ever to win the prestigious award. She also captured an Academy Award for Best Original Screenplay at the 1993 Oscars, while also being nominated for Best Director.
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Many critics have seen Campion’s persistent concerns with gender politics and the disempowerment of women within the domestic sphere as evidence of a feminist sensibility. Certainly, while Campion may not regard herself as a feminist director, her films have been enthusiastically taken up by feminist film critics for their depiction of strong female characters rebelling against the roles expected of them by patriarchal society. Campion’s heroines are characterised by their refusal to conform to these roles, which often results in a stubbornness that leads them into direct conflict with husbands, fathers, brothers and other women complicit with the patriarchal order. The disturbing nature of Campion’s films comes from the physical and emotional violence that is inflicted upon these women as with Ada (Holly Hunter) in The Piano and Isabel Archer (Nicole Kidman) in The Portrait of a Lady, both women assaulted by their husbands. Feminist theorists and historians have examined the ways in which female protest and refusal to conform to the patriarchal order have been labelled as ‘madness’. Several of Campion’s heroines are labelled as ‘mad’ or ‘crazy’ by virtue of their refusal to conform to what their society considers to be the feminine ideal. The essence of Jane Campion’s films lies in ambiguity, in the opening up of narrative possibilities. Sue Gillett captures this perfectly when she notes that Campion’s films are frequently concerned with what is unseen or unsaid. This very openness of meaning lends power to the themes and issues (un)expressed, where the audience is left to interpret the information they are given or the lack of it. Campion is not interested in telling her audience what to think or how to respond. Indeed, the ambiguity in Campion’s films is the catalyst for the critical debate her work inspires.
“Moments of spirituality and vision are also treated in terms of a style that resonates with tackiness, and this contributes to the film’s undecidability of tone.” —Dana Polan
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There is much about Sweetie’s past that is unseen or unsaid. A key example of this ambiguity is the bathroom scene in Sweetie, where Kay pauses outside bathroom door, left ajar, and sees Sweetie washing her father in the bath. As Sweetie ‘accidentally’ drops the soap, she playfully fishes around in the water near her father’s groin, humming occasionally as she does so. Campion then cuts to a shot of Kay in bed, pulling up the sheets and blanket close to her chin, staring tensely at the ceiling. Throughout there is a subtle but ominous undertone on the soundtrack. The scene is less than 30 seconds, but its presentation is so haunting that it casts a shadow over the remainder of the narrative,
especially in the subsequent scenes between Sweetie and her father, Gordon (Jon Darling). While this is the only scene of intimate physical contact between Sweetie and Gordon, the implication of an incestuous relationship is supported by Gordon’s indulgence of Sweetie’s unrealistic career ambitions and his fear of upsetting her.
“It is ‘Insane’, I’m the only woman director to win Cannes in 70 years.” The Cannes Film Festival organizers must be pretty thrilled Jane Campion showed up to France this week. This is the fest’s big 70th anniversary year, which was marked with a giant celebration of the festival’s history and also the glaring fact that Campion is the only woman filmmaker who has won the festival’s top prize in seven decades. (At least that puts Cannes slightly ahead of the Oscars, which has only had one woman filmmaker win Best Director in 89 years.) Campion got her Palme d’Or all the way back in 1993 for The Piano, and no one ever mentions this any more had to share the honor with a man, Farewell My Concubine director Chen Kaige. That means she’s been carrying “The Only Woman Director to Win Cannes” mantle for two decades. “Too long! Twenty-four years! And before that, there was no one. It’s insane,” she said when I spoke to her the day after the 70th anniversary celebration. “And I’m really annoyed that the directoress from Toni Erdmann”—German auteur Maren Ade, who at least is on the Cannes jury this year “Didn’t win last time. I thought, Finally, a buddy. No. No! There’s no more guys winning. That’s it. It’s just going to be women winning from now on.” The optics don’t lie: It was quite a sight seeing Campion walk the red carpet at the 70th anniversary soiree alongside other great directors from the festival’s history, dudes one and all: Pedro Almodóvar, Roman
Polanski, David Lynch, George Miller, Michael Haneke, Nanni Moretti, Ken Loach, Christian Mungiu, Costa–Gavras, Bille August, Claude Lelouch, Jerry Schatzberg, Mohammed Lakhdar–Hamina, and Laurent Cantet. The festival’s woman problem is so glaring that the soiree’s hostess with the mostess Isabelle Huppert had to point it out onstage: “Seventy years of Cannes, 76 Palmes d’Or, only one of which has gone to a woman … No comment.” The festival director Thierry Frémaux immediately shouted out, “Where’s Jane?!” And had the cameras pan directly over to her. “It was really complicated because I was trying to watch it happen to me at the same time as it did,” Campion told me. “I though, Yeah, it does feel like being the queen. And I just don’t see myself that way at all, so it’s also like, ‘Ahhh. Uhhh. Ewww.’ Strange, you know?” Also, technically, Huppert is wrong. Three women have received the Palme—though only Campion is still the only woman filmmaker. The Blue Is the Warmest Color actresses shared the Palme with their director in 2013, in what is generally considered a bending– of–the–rules exception to give out several acting prizes. And Agnès Varda became the first woman filmmaker to win an honorary Palme just two years ago.
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“ At film schools, the gender balance is about 50/50. Women do really well in short–film competitions It’s when business and commerce and art come together; somehow men trust men more.”
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Jane Campion was the first woman to win a Palme d’Or and only the second ever to be nominated for the best director Oscar. So it comes as a surprise that her latest gig, as president of the Cannes film festival jury, isn’t another act of pioneering gender breakthrough. She’s actually the 10th woman to lead the festival’s prize–giving committee, even if men have done it on 57 other occasions and shares the honour with some heady company: Jeanne Moreau, Françoise Sagan, Liv Ullmann, Sophia Loren. But as the only female winner, to date, of that top prize, it’s the kind of honour that is her due. As the festival gears up for its 67th edition, Campion appears stoical about what she calls an “experiment in socialism”, the shepherding of an eight-strong group including fellow directors Sofia Coppola and Nicolas Winding Refn–around the Cannes competition films. “My job is to make sure everyone’s voice gets heard. They are all investing two weeks of their time to come and watch the films and think about them. But I will also be trying not to let things get personal, and keep a sense of humour. It’s a matter of looking after people. I think women do that really well.” Perhaps inevitably, considering her figurehead status, Campion’s thoughts often turn to what women can and can’t do in the film industry. She won’t knock the festival itself, despite its habit of routinely granting high-profile berths to a coterie of veteran male directors; Cannes has, as she says, “been really kind” to her, screening her early shorts (one, Peel, won the short film Palme d’Or in 1986) and taking her first feature, Sweetie, three years later, before giving her the ultimate accolade for The Piano in 1993 (shared with Chen Kaige’s Farewell My Concubine). Even so, she recalls with some horror an event she attended for Cannes’ 50th anniversary, when she found herself on a
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stage with all the other Palme d’Or winners – the only woman there. “It was a shocking moment. It was embarrassing for everyone. I think everyone felt that it was really not right.” She still would be the only woman, but the festival is emphatically not the problem. “My sense is that Cannes is very interested in new voices in cinema, never mind where it comes from or the sex of it. It’s to do with who funds films in the first place.” What’s to be done? “My feeling is we need an Abraham Lincoln figure to get in there, and say especially when it comes to public money – it has to be equal.” Citing the state-funding system in Australia and New Zealand in the 70s, she says: “We are 50% of the population. That’s a good point and [state funding] is where you can push really hard and say something’s wrong here, we want change.” Conversely, though, Campion is wary of the danger of concentrating too hard on ideology. “When I talk to young women film-makers, I say: don’t think about this too much. Being a director is very tough, and you need everything you’ve got just to do your best job. You doing a brilliant job is your best support. Just get on with it. It was Campion’s feature The Piano – her second, if you discount the originally-made-for-TV An Angel at My Table – that appeared to galvanise the sense that a new kind of feminist cinema was possible, a properly entertaining one with widespread appeal, liberated from the dreary politicised ghetto of agit-prop film society or angry tub-thumping festival screening. If the Ridley Scott-directed Thelma and Louise blazed a mainstream trail in 1991 for a femme-buddy movie, The Piano went one further: its all-female creative leadership (Campion, plus longtime collaborator Jan Chapman) and defiantly feminised, literary-inflected themes won both critical acclaim (including three Oscars, best actress for Holly Hunter, best supporting for 11-year-old Anna Paquin, and best script for Campion) and serious box office. The story of repressed Victorian settlers in New Zealand, among them a mute
“ Film–making is not about whether you’re a man or a woman; it’s about sensitivity and hard work and really loving what you do. But women are going to tell different stories-there would be many more stories in the world if women were making more films.” woman who trades sexual favours with a European man half-submerged in Maori culture in order to get her beloved piano back, The Piano appeared to be a harbinger of change. As history tells us, it didn’t work out like that. The 1990s were dominated not by sophisticated studies of female sexuality, but by ironic heist films and pop culture-referencing slasher movies. Facile self-consciousness rather than heartfelt sensitivity won the day: Quentin Tarantino took over the shop, rather than Campion. Her follow-up to The Piano, an adaptation of Henry James’s The Portrait of a Lady with Nicole Kidman and John Malkovich, was respected rather than liked, and with each subsequent release Holy Smoke, In the Cut – Campion looked to be floundering in a cinematic universe that failed to live up to her expectations.
Looking back from her 2014 vantage point, Campion is phlegmatic about her post-Piano difficulties. “I really loved Portrait, even if it didn’t satisfy people’s expectations about what I should be doing. It’s complex, because life isn’t a career. At exactly the same time that I won the Palme d’Or I had a baby that died, so the full impact of my success never hit me. I was grieving, really, throughout that whole year. It was a very difficult period, but at the same time it also protected me from any overblown thoughts. I was just struggling to exist.” Campion is referring to her son, Jasper, who died when he was only 12 days old, shortly after The Piano won at Cannes. (She later gave birth to a daughter, Alice – now the actor Alice Englert, who was so impressive in the Sally Potter-directed
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Ginger & Rosa.) One can intuit the pain lingered for many years; in the early 2000s, she says, she “took a few years off to rethink how I wanted to do things and to bring up my daughter”. Her return to film-making was auspicious with the Keats biopic Bright Star a “rebirth”, as she herself says. Her new approach was influenced, a little improbably, by French minimalist Robert Bresson of A Man Escaped and Diary of a Country Priest, and first showcased in a short film she made with her daughter in 2006 called The Water Diary, a segment of a campaigning feature film called 8. “It may not be obvious, but it was all about going back to simplicity. Bright Star hardly has a moving camera in it.” Buoyed even further by the success of her TV series Top of the Lake, featuring Hunter with a very Campionesque wall of long, iron-grey hair, this much missed director is now firmly back in the game. (She admits to being on the verge of closing a deal to shoot an adaptation of Rachel Kushner’s underground art scene novel The Flamethrowers for indie super-producer Scott Rudin.) Now over two decades old, The Piano is also enjoying a brief flurry of attention and critical care, with a restored print and Blu-ray release on the way. And it’s possible to sense that, with feminism in the cultural ether once again, the film might find its proper place in the pantheon.
“I didn’t plan it,” says Campion, “but I see it even more in those terms now than at the time. Back then, it was a cipher for some of my own frustrations about having a voice, and not being seen or heard. But the way women love women is different to the way men love women: women love women who feel real, who are complicated, and not just sex objects. The woman characters in The Piano are created by a woman; Ada was my heroine. That’s the reason it had the impact it did.”
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Films Tissues (1980) Mishaps: Seduction and Conquest (1981) Peel: An Exercise in Discipline (1982) Passionless Moments (1983) After Hours (1984) An Exercise in Discipline: Peel (1986) A Girl’s Own Story (1986) Sweetie (1989) The Piano (1993) The Portrait of A Lady (1996) Holy Smoke (1999) In the Cut (2003) The Water Diary (2006) Bright Star (2009)
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Creadits
Sweetie (1989)
Academy Awards, USA 1994 Best Writing, Screenplay written Directly for the screen Best Director
The Piano (1993) The Portrait of a Lady (1996) Holy Smoke (1999) In The Cut (2002/3, in production)
Golden Globes, USA 1994 Best Director, Motion Picture Best Screenplay, Motion Picture Primetime Emmu Awards 2013 Outstanding Directing for a Miniseries, Movie or a Dramatic Special Outstanding Miniseries of Movie Outstanding writing for a Miniseries, Movie or a Dramatic Special
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I think women don’t grow up with the harsh world of criticism that men grow up with, we are more sensitively treated, and when you first experience the world of film-making you have to develop a very tough skin.
02 —Jane Campion
DIRECTOR RELEASE DATE CINEMATOGRAPHY SCREENPLAY BOX OFFICE
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Jane Campion 19, January, 1990 Sally Bongers Gerard Lee 0.938 million USD
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Storyline Campion set her career in motion with her 1989 feature debut Sweetie, a tragicomedy revolving around a dysfunctional family and a love/hate relationship between two sisters. After a tea-leaf specialist tells her she will find true love in a man with a question mark on his face, protagonist Kay (Karen Colston) observes a curl of hair above a mole on the forehead of Louis (Tom Lycos) and is convinced her husband has arrived. She snatches him from his fiancée, they get married and Kay airily talks about the existence of seven tiers of spiritual love and how theirs is near the top. For a while, Campion focuses on Kay and her many idiosyncrasies trees scare her, because “it’s like they have hidden powers”. What initially seems to be a story about a woman trying to escape herself turns out to be more about family when Kay’s mentally unbalanced sister Dawn (Geneviève Lemon) appears.
Kay returns home to find the house has been broken into and Dawn, aka Sweetie, an aspiring actress/ performer, lying in bed with her “producer”, a grubby stoner whose professionalism (or lack thereof) exists on the same hazy plateau as Raoul Duke’s attorney in Fear and Loathing in Las Vegas. Their sensitive and emotional father, Gordon (Jon Darling), is the film’s real sweetie, but like all the principal characters he’s not given an easy time. “I just want everybody to be together,” he blubbers, breaking down in a car after his wife leaves him.
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Geneviève Lemon Karen Colston Tom Lycos Jon Darling Dorothy Barry Karen Colston Michael Lake Andre Pataczek Jean Hadgraft Paul Livingston
T Dawn ‘Sweetie’ Key Louis Gordon Flo Bob Clayton Mrs. Schneller Teddy Schneller Cheryl
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Kerry Fox Alexia Keogh Karen Fergusson Iris Churn Jessie Mune Kevin J. Wilson Francesca Collins
Janet Frame Janet Frame as adolescent Janet Frame as teenager Mother Mother Baby Janet
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Jane Campion 20, September, 1990 Sally Bongers Laura Jones 1.055 million USD
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Storyline The movie opens in prewar New Zealand, a green and comfortable land where Janet’s father works for the railroad and she fits comfortably into a family including a brother and two sisters that she adores. She is a funny-looking child, with bad teeth and a mop of unruly scarlet hair, but there is something special about her. She has a poet’s imagination, and when she writes a poem for grade school, she is absolutely sure what words she wishes to use, and cannot be persuaded by authority to change one word. She grows up slowly, doesn’t date, doesn’t have much of a social life. In school, she socializes with the ou casts the brains, the non-conformists, the arty set but looks with envy on the popular girls and their boyfriends. It
is a world she does not hope to understand. In college, too, she’s a loner, shy, keeping to herself, confiding everything to a journal, and then, in her first job as a school teacher, she does not join the other teachers for tea because she cannot think of what to say to them. One day the school inspector comes to visit her class, and she freezes up and cannot say anything.
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Storyline Set in the early years of the European colonisation of New Zealand, 30-ish Scottish woman Ada (Holly Hunter) hasn’t spoken a word since she was six years old. “The voice you hear is not my speaking voice but my mind’s voice,” she tells us via voiceover. “The strange thing is, I don’t think myself silent. That is because of my piano.”She is indeed rather fond of said piano, in a take-it-from-my-cold-dead-hands kind of way. Nevertheless Ada loses ownership of her prized possession after the husband she is shipped off to marry, Mr Stewart (Sam Neill), insists on leaving it on a beach – the first misstep in an increasingly rocky relationship. The slightly more amiable George Baines (Harvey Keitel) obtains it and cuts Ada a deal. She can buy the piano back, key by key, in exchange for lessons. These “lessons” become increasingly sexually charged. Baines transitions from gawking at her leg to running a hand across her shoulder. Before you
“Down there everything is so still and silent that it lulls me to sleep. It is a weird lullaby and so it is; it is mine. — The Piano
know it, he’s proposed the old “let’s not do anything, just lie next to each other in bed” chestnut. Their relationship becomes more even-keeled as Ada’s sexual urges are awakened. Hunter is mesmerising as a mysterious and in certain senses impenetrable character, headstrong but vulnerable. Anna Paquin (in her first major role) is also unforgettable as Ada’s young daughter, with whom she communicates via sign language.
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Holly Hunter Harvey Keitel Sam Neill Anna Paquin Kerry Walker
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DIRECTOR RELEASE DATE MUSIC COMPOSE SCREENPLAY BOX OFFICE
Jane Campion 11, February 1994 Michael Nyman Jane Campion 7 million USD
Isabel Archer, an American heiress and free thinker travels to Europe to find herself. She tactfully rebuffs the advances of Caspar Goodwood, another American who has followed her to England. Her cousin, Ralph Touchett, wise but sickly becomes a soulmate of sorts for her. She makes an unfortunate alliance with the creepy Madame Merle who leads her to make an even more unfortunate alliance with Gilbert Osmond, a smooth but cold collector of Objets’ de art who seduces her with an intense but unattainable sexuality. Isabel marries Osmond only to realize she’s just another piece of art for his collection and that Madame Merle and Osmond are lovers who had hatched a diabolical scheme to take Isabel’s fortune. Isabel’s only comfort is the innocent daughter of Osmond, Pansy, but even that friendship is spoiled when Countess Gemini, Osmond’s sister, reveals the child’s true parentage. Isabel finally breaks free of Osmond and returns to Ralph’s bedside, where, while breathing his last.
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Nicole Kidman John Malkovich Mary-Louise Martin Donovan Shelley Winters Richard E. Grant Shelley Duvall
T Isabel Archer Gilbert Osmond Madame Serena Merle Ralph Touchett Mrs. Touchett Lord Warburton Countess Gemini
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Jane Campion 24, December, 1996 Stuart Dryburgh Laura Jones 3.692 million USD
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“I know what you want from me, you just want a youthful pussy transfusion, preferably one you can take home to show the men folk what a beautiful post you got to piss on.” — Ruth Barron
H O S M Roger Ebert
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The cult member is Ruth (Kate Winslet), an Australian who has gone to India and allied herself with a guru. And the deprogrammer is Harvey Keitel, summoned by Ruth’s parents; he stalks off the plane like his no-nonsense fix-it man in “Pulp Fiction” and then starts falling to pieces. The movie leaves us wondering why the guru didn’t become Ruth’s follower, too. Ruth, the Winslet character, journeys to India and falls under the sway of a mystic guru. Her parents trick her into returning, and hire P.J. Waters (Keitel) to fly over from the United States and deprogram her. At this point I was hoping perhaps for something like “Ticket to Heaven” (1981), the powerful Canadian film about the struggle for a cult member’s mind. But no. The moment Ruth and P.J. face off against each other, their struggle is not over cult beliefs, but about the battle between men and women. And P.J., with his obsolete vocabulary of sexual references, is no match for the strong-willed young woman who overwhelms him mentally, physically and sexually. The film isn’t really about cults at all, but about the struggle between men and women, and it’s a little surprising, although not boring, when it turns from a mystic travelogue into a feminist parable. The director is Jane Campion (“The Piano”), who wrote the screenplay with her sister Anna. Like so many Australian films (perhaps even a majority), “Holy Smoke” suggests that everyone in Australia falls somewhere on the spectrum between goofy and eccentric, none more than characters invariably named Mum and Dad. Parents are totally unhinged beneath a facade of middle-class conventionality; their children seem crazy, but like many movie mad people, are secretly saner than anyone else. Campion’s first film, “Sweetie,” was an extreme example; “Holy Smoke” reins in the strangeness a little, although to be sure there’s a scene where Keitel wanders the outback wearing a dress and lipstick, like a passenger who fell off “The Adventures of Priscilla, Queen of the Desert.”
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Kate Winslet Harvey Keitel Julie Hamilton Sophie Lee Dan Wyllie Paul Goddard Tim Robertson George Rafael Kerry Walker DIRECTOR RELEASE DATE MUSIC COMPOSE SCREENPLAY
Ruth PJ Waters Mum Yvonne Robbie Tim Dad Yani Puss
Jane Campion 18, February, 2000 Stuart Dryburgh Jane Campion, Anna Campion
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1.758 million USD
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Women often postpone their lives, thinking that if they’re not with a partner then it doesn’t really count. They’re still searching for their prince, in a way. And as much as we don’t discuss that, because it’s too embarrassing and too sad, I think it really does exist.”
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New Zealand is an island country in the southwestern Pacific Ocean. The country geographically comprises two main landmasses—the North Island, and the South Island—and around 600 smaller islands. New Zealand is situated some 1,500 kilometres (900 mi) east of Australia across the Tasman Sea and roughly 1,000 kilometres (600 mi) south of the Pacific island areas of New Caledonia, Fiji, and Tonga. Because of its remoteness, it was one of the last lands to be settled by humans. During its long period of isolation, New Zealand developed a distinct biodiversity of animal, fungal and plant life. The country’s varied topography and its sharp mountain peaks, such as the Southern
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Alps, owe much to the tectonic uplift of land and volcanic eruptions. New Zealand’s capital city is Wellington, while its most populous city is Auckland. Sometime between 1250 and 1300 CE, Polynesians settled in the islands that later were named New Zealand and developed a distinctive Maori culture. In 1642, Dutch explorer Abel Tasman became the first European to sight New Zealand. In 1840, representatives of Britain and Maori chiefs signed the Treaty of Waitangi, which declared British sovereignty over the islands. In 1841, New Zealand became a colony within the British Empire and in 1907 it became a Dominion.
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Today, the majority of New Zealand’s population of 4.7 million is of European descent; the indigenous Maori are the largest minority, followed by Asians and Pacific Islanders. Reflecting this, New Zealand’s culture is mainly derived from Maori and early British settlers, with recent broadening arising from increased immigration. The official languages are English, Maori and New Zealand Sign Language, with English predominant. New Zealand is a developed country and ranks highly in international comparisons of national performance, such as health, education, economic freedom and quality of life. Since the 1980s, New Zealand has transformed from an agrarian, regulated economy to a market economy. Nationally, legislative authority is vested in an elected, unicameral Parliament, while executive political power is exercised by the Cabinet, led by the Prime Minister, who is currently Bill English. Queen Elizabeth II is the country’s head of state and is represented by a governor-general, currently Dame Patsy Reddy. In addition, New Zealand is organised into 11 regional councils and 67 territorial authorities for local government purposes. The Realm of New Zealand also includes Tokelau (a dependent territory); the Cook Islands and Niue (self-governing states in free association with New Zealand); and the Ross Dependency, which is New Zealand’s territorial claim in Antarctica. New Zealand is a member of the United Nations, Commonwealth of Nations, ANZUS, Organisation for Economic Co-operation and Development, Pacific Islands Forum, and Asia-Pacific Economic Cooperation.
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“We are an independent charitable trust. Our purpose is to collect, share and care for New Zealand’s audio.”
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Nga Taonga Sound & Vision is the operating name for the New Zealand Archive of Film, Television and Sound NgaTaonga Whitiahua Me Nga Taonga Korero. The archive was formed on 1 August 2014, by the amalgamation of the New Zealand Film Archive, Sound Archives Nga Taonga Korero and the Television New Zealand Archive. The organisation is an independent Charitable Trust dedicated to collecting, protecting and connecting New Zealand’s audiovisual heritage with the widest possible audience. Nga Taonga Sound & Vision’s main head office is in Wellington. As well as preservation facilities, the Wellington premises feature a 110-seat cinema, viewing and reference libraries, and a gallery that hosts regular moving image exhibitions. Nga Taonga Sound & Vision also has offices in Auckland, with viewing facilities and gallery exhibitions, and in Christchurch, which is where the majority of the sound archiving takes place. Nga Taonga Sound & Vision operates medianet, a digital video resource that provides access to the collections at 17 host institutions across New Zealand.
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Nga Tanga Sound& Vision Nga Taonga Sound & Vision holds a large collection of moving image and audio items. The collections date back to 1895 and span New Zealand’s sound and moving image history: from the earliest days of cinema, audio recording and television, to contemporary film, television, advertisements, music videos, computer games and radio productions along with related documentation. The organisation archives amateur recordings, public broadcasts and commercially released productions.
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Interview Movie
Movie MoviesDay
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3.8.2018
3.9.2018
Timeline
9:00-11:30
9:00-11:30
Jane Campaion’s Interview
An Angel at My Table
12:00-1:30
12:00-1:30
Lunch
Lunch
1:45-3:30
1:45-4:23
Sweetie
The Piano
Sweetie
An Angel at My Table
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E Movie MoviesDay 3.10.2018 9:00-11:30 The Portrait of A Lady
12:00-1:30 Lunch 1:45-2:50 Holy Smoke
The Piano
The Portrait of A Lady
Holy Smoke
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Y O U N E Y Public Transport Wellington’s extensive public transport network includes bus services, five passenger rail lines, a cable car, and the harbour ferry services. See a journey planner, and check out the timetables, routes and fares for all public transport options in the Wellington region. Please open the website Metlink. Bus Open the website Metlink, there are all the bus timetables. Trains Wellington region’s passenger rail network is made up of five lines travelling to Johnsonville, Waikanae, Lower Hutt, Upper Hutt and Masterton. Cable Car The Wellington Cable Car is a cable railway that runs between Lambton Quay, the main shopping street in the city centre, and the top of the Botanic Garden in Kelburn, where there is a view overlooking the city and harbour, The cable car climbs 120 m over a length of 612 m. The one way trip takes approximately five minutes. Ferries Ferries within Wellington’s harbour operate between central Wellington and Days Bay (near Eastbourne), Seatoun, and Matiu/Somes Island.
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We will be pleased to see your presence in the film festival.
Designer
Linlin Song
Student ID
04307163
Semester
Fall 2017
Instructor
Christopher Morlan