title: Cenozoic sedimentary and volcanic rocks of New Zealand: A reference volume of lithology, age and paleoenvironments with maps (PMAPs) and database.

authors: Kamp, Peter J.J.

subjects: paleoenvironment

abstract: This volume presents descriptive geological data and text about each Cenozoic sedimentary and volcanic geological unit to formation and member level (in some cases) exposed on land in New Zealand, including their lithology, stratigraphic age and inferred environment of deposition or emplacement. These data are illustrated as two types of PMAPS: a present-day paleoenvironment map of New Zealand; and as restored paleoenvironment maps, one for each million years from 65 Ma to the present. These information and data underpin the development of a new Cenozoic paleogeographical model of New Zealand.

text: Cenozoic sedimentary and volcanic rocks of New Zealand: A reference volume of lithology, age and paleoenvironments with maps (PMAPs) and database. This volume presents descriptive geological data and text about each Cenozoic sedimentary and volcanic geological unit to formation and member level (in some cases) exposed on land in New Zealand, including their lithology, stratigraphic age and inferred environment of deposition or emplacement. These data are illustrated as two types of PMAPS: a present-day paleoenvironment map of New Zealand; and as restored paleoenvironment maps, one for each million years from 65 Ma to the present. These information and data underpin the development of a new Cenozoic paleogeographical model of New Zealand.

year: 2015

title: The effect of low temperatures on enzyme activity

authors: More, N.

subjects: enzyme

abstract: The stability of two enzymes from extreme thermophiles (glutamate dehydrogenase from Thermococcales strain AN1 and beta-glucosidase from Caldocellum saccharolyticum expressed in Escherichia coli) has been exploited to allow measurement of activity over a 175 degrees C temperature range, from +90 degrees C to -85 degrees C for the glutamate dehydrogenase and from +90 degrees C to -70 degrees C for the beta-glucosidase. The Arrhenius plots of these enzymes, and those for two mesophilic enzymes (glutamate dehydrogenase from bovine liver and beta-galactosidase from Escherichia coli), exhibit no downward deflection corresponding to the glass transition, found by biophysical measurements of several non-enzymic mesophilic proteins at about -65 degrees C and reflecting a sharp decrease in protein flexibility as the overall motion of groups of atoms ceases.

text: The effect of low temperatures on enzyme activity The stability of two enzymes from extreme thermophiles (glutamate dehydrogenase from Thermococcales strain AN1 and beta-glucosidase from Caldocellum saccharolyticum expressed in Escherichia coli) has been exploited to allow measurement of activity over a 175 degrees C temperature range, from +90 degrees C to -85 degrees C for the glutamate dehydrogenase and from +90 degrees C to -70 degrees C for the beta-glucosidase. The Arrhenius plots of these enzymes, and those for two mesophilic enzymes (glutamate dehydrogenase from bovine liver and beta-galactosidase from Escherichia coli), exhibit no downward deflection corresponding to the glass transition, found by biophysical measurements of several non-enzymic mesophilic proteins at about -65 degrees C and reflecting a sharp decrease in protein flexibility as the overall motion of groups of atoms ceases.

year: 1995

title: Indigenising the screen: Screenplay and critical analysis for The Prophet

authors: Bristowe, Joseph Curtis

subjects: indiginization

abstract: This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

text: Indigenising the screen: Screenplay and critical analysis for The Prophet This thesis tests the hypothesis that it is possible to both decolonise and indigenise the New Zealand cinema screen. Secondary research reveals how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. These discourses of race, gender and religion perpetuate negative belief systems about Māori and contribute to the reproduction of stereotypical images of Māori, such as the irrational, naive, simpleminded and warlike Māori man, or the domesticated, lustful and sexually available Māori woman. 

Research by creative practice advances the project of decolonising the New Zealand screen through the writing of a feature length screenplay based on careful research and intimate cultural knowledge, and by working according to an appropriate kaupapa Māori framework. The resulting screenplay, The Prophet, brings to life the multitude of forces that coalesced to shape the life of 19th century Māori warrior and prophet, Te Kooti Arikirangi Te Tūruki. In his death, as in his life, he remains an enigmatic figure. In written accounts and in Pākehā memories he appears as a violent rebel, mass murderer and religious fanatic. This epic re-telling focuses on the character of Te Kooti, showing him to be a man who accomplished great feats in the face of injustice, adversity and hardship. 
A critical analysis of the screenplay reveals how I adopted a unique cross cultural writing approach drawing upon both the 'classic' western narrative structure as well as kaupapa Māori pūrākau oral tradition. I argue that this approach combines effectively to materialise strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach to scriptwriting rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of the Pākehā majority and, in doing so, urges the utilisation of Māori philosophies, concepts and practices in the scriptwriting/film production process.

year: 2009