title: How reliable are household expenditures as a proxy for permanent income? Implications for the income–nutrition relationship

authors: Gibson, John

subjects: Income

abstract: Using short-run expenditures from household surveys as a proxy may create attenuated estimates of the impact of permanent income on economic outcomes. We use repeated observations to calculate reliability ratios and estimate errors in variables regressions of the impact of income on nutrition. We find significant responses to income, in contrast to previous influential studies.

text: How reliable are household expenditures as a proxy for permanent income? Implications for the income–nutrition relationship Using short-run expenditures from household surveys as a proxy may create attenuated estimates of the impact of permanent income on economic outcomes. We use repeated observations to calculate reliability ratios and estimate errors in variables regressions of the impact of income on nutrition. We find significant responses to income, in contrast to previous influential studies.

year: 2013

title: Nature of scientific inquiry in Year 11 science

authors: Hume, Anne Christine

subjects: science students

abstract: The article presents two classroom-based case studies in 2005 that examined the experience of students in school science in New Zealand. It states that students in both classrooms were introduced to the requirements of Science Achievement Standard (SAS) 1.1. in the preparatory phase. Meanwhile, students participated in a mock assessment known as the formative assessment in the second phase.

text: Nature of scientific inquiry in Year 11 science The article presents two classroom-based case studies in 2005 that examined the experience of students in school science in New Zealand. It states that students in both classrooms were introduced to the requirements of Science Achievement Standard (SAS) 1.1. in the preparatory phase. Meanwhile, students participated in a mock assessment known as the formative assessment in the second phase.

year: 2008

title: Pōuri: Two original screenplays

authors: Kohere, Anthony

subjects: Screenplays

abstract: Pōuri, as defined on Te Aka Māori Dictionary, means “regret, mournful, gloomy, in the dark.” It is an apt description of the following stories: Unprivate Moments, and Haytham; or, The Māori Gothic. A common thematic tie between the characters is that they regret past actions, have become disheartened, and experience severe distress. As a thesis, the aim is to expand on what a “Māori story” is beyond the familiar, or dare I say, expected.

'Unprivate Moments' is about an estranged father and son reconciling their differences, disguised as a low-level spy film. I see this as an opportunity to take a well-defined genre and treat it in a realistic fashion in terms of location and character, although not necessarily in believability. Set in Whanganui it can play with many tropes and preconceptions, almost with self-awareness without falling into parody or metacommentary. The formatting does not follow industry standards but inverts the layout of the scene descriptions and dialogue. While I cannot say for certain, Stanley Kubrick is the only one I am aware of that has done this when he adapted 'A Clockwork Orange'. His rationale for this break in style was to draw the eye to the visual storytelling rather than the dialogue.

'Haytham' is centred on a young Byronic Māori man during the late 1880s. Like the archetype he is derived from, Haytham is a tall, dark, and mysterious man. As he reveals himself both to the audience and to the other characters, we come to find someone who has been  damaged and corrupted. This issue of childhood trauma is the central crux of the story and is explored through his relationships with the women in his life. And finally, despite the script’s setting and intentional use of familial names, this is not a biographical work.

text: Pōuri: Two original screenplays Pōuri, as defined on Te Aka Māori Dictionary, means “regret, mournful, gloomy, in the dark.” It is an apt description of the following stories: Unprivate Moments, and Haytham; or, The Māori Gothic. A common thematic tie between the characters is that they regret past actions, have become disheartened, and experience severe distress. As a thesis, the aim is to expand on what a “Māori story” is beyond the familiar, or dare I say, expected.

'Unprivate Moments' is about an estranged father and son reconciling their differences, disguised as a low-level spy film. I see this as an opportunity to take a well-defined genre and treat it in a realistic fashion in terms of location and character, although not necessarily in believability. Set in Whanganui it can play with many tropes and preconceptions, almost with self-awareness without falling into parody or metacommentary. The formatting does not follow industry standards but inverts the layout of the scene descriptions and dialogue. While I cannot say for certain, Stanley Kubrick is the only one I am aware of that has done this when he adapted 'A Clockwork Orange'. His rationale for this break in style was to draw the eye to the visual storytelling rather than the dialogue.

'Haytham' is centred on a young Byronic Māori man during the late 1880s. Like the archetype he is derived from, Haytham is a tall, dark, and mysterious man. As he reveals himself both to the audience and to the other characters, we come to find someone who has been  damaged and corrupted. This issue of childhood trauma is the central crux of the story and is explored through his relationships with the women in his life. And finally, despite the script’s setting and intentional use of familial names, this is not a biographical work.

year: 2022