title: Antipodean angst: encountering Islam in New Zealand

authors: Pratt, Douglas

subjects: Islam

abstract: Islam first came to New Zealand with Chinese gold miners in the late nineteenth century. However, it was to be many years before a distinctive Muslim community would emerge with its own forms of organization and purpose-built mosques. This article will review the arrival of Islam and the place of Muslims in New Zealand and discuss the challenges and issues faced by them, as well as considering social responses and perceptions of Islam that have been forged more by external global issues than local factors. Although by no means the full story, it is nevertheless the case that attitudes to the presence of Muslims currently give evidence of a rising diffuse anxiety: Antipodean angst would seem a pervasive feature with respect to the encounter with Islam in this far-flung corner of the globe.

text: Antipodean angst: encountering Islam in New Zealand Islam first came to New Zealand with Chinese gold miners in the late nineteenth century. However, it was to be many years before a distinctive Muslim community would emerge with its own forms of organization and purpose-built mosques. This article will review the arrival of Islam and the place of Muslims in New Zealand and discuss the challenges and issues faced by them, as well as considering social responses and perceptions of Islam that have been forged more by external global issues than local factors. Although by no means the full story, it is nevertheless the case that attitudes to the presence of Muslims currently give evidence of a rising diffuse anxiety: Antipodean angst would seem a pervasive feature with respect to the encounter with Islam in this far-flung corner of the globe.

year: 2010

title: New Zealand meets South Korea: Strategies for film co-productions between two countries

authors: Kim, JuHee

subjects: New Zealand film

abstract: This study investigates the state of international film co-productions between New Zealand and South Korea and whether such co-productions are possible, and if so, which modes or types of film co-productions are likely to succeed. The study is framed in the context of the two countries as well as the rapidly changing global marketplace. Increasingly, international film co-productions have gained importance in the film industry paralleling a growing tendency towards cross-border filmmaking. However, the phenomenon of international film co-productions, specifically between New Zealand and South Korea, has not been fully investigated to date.  

A review of existing approaches to international film co-productions did not provide a sufficiently comprehensive theoretical framework for this study. It therefore draws on four different approaches: political economy, social exchange theory (the reciprocal exchange model), Cultural Studies (focusing on cultural proximity and discount), and transnational approaches. Post-positivism provides a theoretical research perspective and the research method employed was a mixed-methods. The secondary data was analysed and discussed for the two governments’ film policies and their impact on the co-productions of these two countries. Extensive in-depth interviews with key respondents point five influential factors (political, economic, personal, cultural and industrial) for New Zealand-South Korean film co-productions. A case study of The Warrior’s Way (2010) was undertaken in order to examine how these five factors have practically impacted on one example of international film co-production.

This study proposes a conceptual framework drawing upon four approaches to explore multi-layered and multifaceted international film co-productions, and each approach in the framework has made its own contributions to film studies in the academic literature. The findings of this thesis show that it has been difficult for official productions between these countries to happen despite the film agreement between them. Consequently, it is suggested that the option of undertaking unofficial film co-productions is a better one. Three modes for unofficial productions, particularly addressed to those South Korean filmmakers who desire to make New Zealand-South Korean co-productions are suggested.

text: New Zealand meets South Korea: Strategies for film co-productions between two countries This study investigates the state of international film co-productions between New Zealand and South Korea and whether such co-productions are possible, and if so, which modes or types of film co-productions are likely to succeed. The study is framed in the context of the two countries as well as the rapidly changing global marketplace. Increasingly, international film co-productions have gained importance in the film industry paralleling a growing tendency towards cross-border filmmaking. However, the phenomenon of international film co-productions, specifically between New Zealand and South Korea, has not been fully investigated to date.  

A review of existing approaches to international film co-productions did not provide a sufficiently comprehensive theoretical framework for this study. It therefore draws on four different approaches: political economy, social exchange theory (the reciprocal exchange model), Cultural Studies (focusing on cultural proximity and discount), and transnational approaches. Post-positivism provides a theoretical research perspective and the research method employed was a mixed-methods. The secondary data was analysed and discussed for the two governments’ film policies and their impact on the co-productions of these two countries. Extensive in-depth interviews with key respondents point five influential factors (political, economic, personal, cultural and industrial) for New Zealand-South Korean film co-productions. A case study of The Warrior’s Way (2010) was undertaken in order to examine how these five factors have practically impacted on one example of international film co-production.

This study proposes a conceptual framework drawing upon four approaches to explore multi-layered and multifaceted international film co-productions, and each approach in the framework has made its own contributions to film studies in the academic literature. The findings of this thesis show that it has been difficult for official productions between these countries to happen despite the film agreement between them. Consequently, it is suggested that the option of undertaking unofficial film co-productions is a better one. Three modes for unofficial productions, particularly addressed to those South Korean filmmakers who desire to make New Zealand-South Korean co-productions are suggested.

year: 2017

title: Maori identity within whanau: A review of literature.

authors: Moeke-Pickering, Taima Materangatira

subjects: Maori identity

abstract: The study of identities is an enormous and complex undertaking. Research on identity formation has revealed a clear link between family practices and identity development. In traditional Maori times, the whanau was the place where initial teaching and socialisation of things Maori took place. While there is no single exact measure of what constitutes Maori identity (Durie, 1994), that Maori identity is still being asserted today means that the shaping of Maori identity is still occurring. Rather than attempt to cover all aspects of how Maori shape their identities, I have chosen to focus on the shaping of Maori identity within whanau. Given that this paper is about both Maori identity and whanau identity it seemed logical to review and examine the literature surrounding these two notions. In this paper I also discuss the ecological threats and supports that influenced Maori and whanau identity. Then I review literature on whanau identity from traditional and contemporary works, and explore the concept of whanau identity as a management framework. The literature on whanau does not vary from what Maori authors have expressed regarding their conceptualisations of Maori identity. The tribal structures, descent and cultural practices provide integral pathways through which whanau and Maori identity can be developed and maintained. What is of significance, is that the formation of a secure whanau identity is likely to contribute toward an overall stable Maori identity. Creating an environment where a sense of secure wellbeing among members of a whanau is nurtured, leads to members constructing a whanau and Maori identity that is meaningful to them in their lives.

text: Maori identity within whanau: A review of literature. The study of identities is an enormous and complex undertaking. Research on identity formation has revealed a clear link between family practices and identity development. In traditional Maori times, the whanau was the place where initial teaching and socialisation of things Maori took place. While there is no single exact measure of what constitutes Maori identity (Durie, 1994), that Maori identity is still being asserted today means that the shaping of Maori identity is still occurring. Rather than attempt to cover all aspects of how Maori shape their identities, I have chosen to focus on the shaping of Maori identity within whanau. Given that this paper is about both Maori identity and whanau identity it seemed logical to review and examine the literature surrounding these two notions. In this paper I also discuss the ecological threats and supports that influenced Maori and whanau identity. Then I review literature on whanau identity from traditional and contemporary works, and explore the concept of whanau identity as a management framework. The literature on whanau does not vary from what Maori authors have expressed regarding their conceptualisations of Maori identity. The tribal structures, descent and cultural practices provide integral pathways through which whanau and Maori identity can be developed and maintained. What is of significance, is that the formation of a secure whanau identity is likely to contribute toward an overall stable Maori identity. Creating an environment where a sense of secure wellbeing among members of a whanau is nurtured, leads to members constructing a whanau and Maori identity that is meaningful to them in their lives.

year: 1996-01-01