This thesis is concerned with the New Zealand film industry and its historical and ongoing relationship with the Hollywood film industry. It will critically evaluate the notion that New Zealand now has more autonomy and independence in the international film industry and the analysis will examine the realities for both the New Zealand and Hollywood film industries by unravelling the hype and rhetoric at both core and periphery.There has been a huge amount of activity, discussion and 'hype' surrounding feature film production in New Zealand in the last few years, particularly in the wake of The Lord of the Rings production and its international success. There is also optimism that changes in the dominant US mode of production and the rise of a global entertainment industry is diminishing the centralised power of Hollywood and creating new opportunities for international filmmaking outside the US.The New Zealand industry (like many other 'national' cinemas) has always struggled between commercial and cultural imperatives for filmmaking. Using a political economy approach, this thesis examines these two imperatives as threads through the development of a national film culture in New Zealand and the constant struggle against the dominant power of Hollywood film. It works to uncover the false and often contradictory dichotomy between the two polarities, cultural and commercial.Recent policy initiatives and the activities of the New Zealand Government in terms of feature filmmaking are also examined. The initiatives of the New Zealand Government are embodied in the 'Brand NZ' slogan that has been employed in order to promote New Zealand as a location for global production capital. The central argument is that a third, hybrid model has become increasingly visible as a complex 'partnership' has developed between a Hollywood studio, New Line Cinema and a national government, New Zealand's.A slogan such as 'Brand NZ' indicates that this third model is primarily a commercial construct. What is not made clear in the New Zealand context and is in fact, obscured by the hype and rhetoric, is that this third model is also a core-periphery model. Therefore, the much vaunted independent and more autonomous national film industry in New Zealand is largely illusory.

Thesis (Ph. D.)--Discipline of Economics, University of Sydney, [2006?]. / Title from title screen (viewed 27th June, 2007). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Discipline of Economics, University of Sydney. Degree awarded 2006?; thesis submitted 2005. Includes bibliographical references. Also issued in print.

Thesis--University of Michigan. / Includes bibliographical references (leaves 342-356; filmography: leaves 357-365).

Thesis--University of Michigan. / Includes bibliographical references (leaves 342-356; filmography: leaves 357-365).

Thesis (M.S.)--University of Wisconsin--Madison. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 161-164).

Thesis (Ph. D.)--University of Canberra, 2004. / Title from PDF title page (viewed on July 20, 2005). Includes bibliographical references (p. [242]-248).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1983. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 254-266).

Magister Legum - LLM / The objective of this research was to examine the future of the cultural diversity of cinema through the GATS and the TRIPS Agreement / South Africa

The purpose of this thesis is to assess the potential of establishing a viable indigenous feature film industry in British Columbia. An understanding of the B.C. situation was gained by researching and illustrating the organization of the various parts: production, distribution, and exhibition. This was undertaken by reading various industry publications on the "business" of film making and reading newspaper and trade journal articles. Information about the history of public policy as well as current federal and provincial programs for feature film making was taken from task force reports, Canadian Film Corporation reports, and Telefilm Canada annual reports. Statistics on the industry were gained from Statistics Canada, Telefilm Canada, the Canadian Film and Video Certification Office, and provincial agencies, in particular, B.C. Film annual reports. Personal interviews based on a questionnaire were held with eighteen British Columbia producers who were initiating feature film projects in 1988. Canadian producers are dependent on access to federal and provincial sources of finanicng for as much as 62 per cent of their financing. The balance is provided by broadcasters, private investors, and deferral agreements, or through co-productions with other countries. Because of Hollywood's control of Canada's exhibition market, only 3-5 per cent of screen time is accorded to Canadian feature films. Because of our small domestic market, Canadian producers must rely on international sales to break even. Moreover, feature filmmaking in Canada, like in most other countries, is characterized by great risk and little chance of profitability. The Canadian government is now supporting a nucleus of Canadian-owned distributors with subsidies to help them establish both a capital base and contacts in the international marketplace. Domestic television production has also been a factor in Canada's feature film development. Writers, directors, producers, and technicians have gained experience by being able to work in the broadcast medium. Successful production companies produce a mixture of both television and feature films. As well, these companies have established relationhips with companies in other countries, thereby providing them with an expanded market and opportunites for co-productions. B.C.'s feature film sector is comprised of small production companies with limited revenues who produce feature films on a project-by-project basis through the opportunities provided by B.C. Film and Telefilm. Few have enough capital to plan and manage substantial feature film or television production. Increases in B.C. production are a direct result of success in getting this support. However, Telefilm's funding to the province's filmmakers is unreliable, evidenced by the production of eleven films in 1988 and only one in 1990. A major drawback for B.C. producers is the geographic distance from head offices of existing Canadian broadcasting networks and major feature film distribution companies in Eastern Canada. However, B.C. producers have access to a strong local base of crews, studio facilities, and substantial post production, facilitated by the breadth of American location shooting and commercial production being done in our province. The need is to establish a new, realistic level of operation for the feature film industry in B.C. and to provide the support to sustain it for 5-7 years in order to it to become viable. Given the above conditions, the three main factors in achieving a viable feature film industry in B.C. will be: a) the development of several medium-size companies; b) the provision of adequate funds from federal and provincial sources; and, c) the promotion of the supply of good quality scripts. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 246-260).