Migrant and Diasporic Film and Filmmaking in New Zealand
This book is the first ever collection on diasporic screen production in New Zealand. Through contributions by a diverse range of local and international scholars, it identifies the central characteristics, histories, practices and trajectories of screen
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grant and Diasporic Film and Filmmaking in New Zealand
Migrant and Diasporic Film and Filmmaking in New Zealand
Arezou Zalipour Editor
Migrant and Diasporic Film and Filmmaking in New Zealand
123
Editor Arezou Zalipour Auckland University of Technology Auckland, New Zealand
ISBN 978-981-13-1378-3 ISBN 978-981-13-1379-0 https://doi.org/10.1007/978-981-13-1379-0
(eBook)
Library of Congress Control Number: 2018948615 © Springer Nature Singapore Pte Ltd. 2019 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Singapore Pte Ltd. The registered company address is: 152 Beach Road, #21-01/04 Gateway East, Singapore 189721, Singapore
Foreword
Cinema Evolving1 As an industry, an institution, and a set of practices, cinema has evolved, adjusted, adapted, adopted, assimilated, and grown vertically and horizontally. It has taken over, has been taken over, and has been privatized, nationalized, indigenized, diversified, and synergistically converged in myriad ways. In what might be considered as a great operational example of Gramsci’s theorization of hegemony, it has changed in order to remain the same—cinema. And as a medium, film has remained not only relevant but also proliferated by a process that Marshall McLuhan astutely identified decades ago. He said that old media survive by becoming the contents of newer media: “The ‘content’ of any medium is always another medium.” Today, we are apt to talk about this as “remediation.” Since 1958 when John Tuky coined the word “software” and the Ampex color videotape recorder and 3M videotape came into market, turning television from a live and ephemeral medium into a recorded and enduring medium, and since other technological developments which transformed it from an analogue medium into a digital, Internet-connected medium, film has become the indisp
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