The Hobbit: behind-the-scenes, Peter Jackson presents Video #9
Video #9 Published on YouTube 23 Nov 2012 by Peter Jackson (WingNut Films), Film premiere: 28 November 2012 (Wellington, New Zealand) Release Date: 13 December 2012 (UK)
CONTRIBUTOR
Simon PerkinsSHARE
International MINA Mobile Innovation Screening 2012
"The International Mobile Innovation Screening 2012 will showcase an international screening programme of mobile short films. Simultaniously the MINA [Mobile Innovation Network Aotearoa] Mobile Creativity and Innovation Symposium opening reception will take place at the New Zealand Film Archive in Wellington, Te Anakura Whitiahua, on the 23rd November 2012.
MINA reception (6.30pm) and mobile film screening (7pm-8pm)
The 2nd International Mobile Creativity and Mobile Innovation symposium hosted at Massey University Wellington, on 24th/25th November, will provide a platform for filmmakers, artists, researchers and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in a changing art and design environment and the transforming creative industries."
(MINA, Aotearoa New Zealand)
CONTRIBUTOR
Max SchleserSHARE
Traditional techniques provide an experimental space to explore ideas
Review of exhibition titled 'More is More' which opened 5 August 2012 in Gallery C3, Te Ara Hihiko, Massey University Campus, Wellington, New Zealand. The show was curated by Annette O’Sullivan, Matt Clapham and John Clemens.
"Typography forms a strong component of the Visual Communication Design programme and this existing knowledge is built upon in the Screen Printing for Design and Contemporary Letterpress papers. There was a celebration of disciplines on show, with students from many areas of the College of Creative Arts: Graphic Design, Textiles, Illustration, Fine Arts and Photography included. Many students are attracted to these papers as they provide an experimental space to explore ideas and techniques that can be applied at a later stage to other projects. Although based around traditional printmaking techniques students also employ digital technologies and equipment such as laser cutters to answer the project briefs."
(Nick Kapica, 20 August 2012, Design Assembly)
Fig.1 Hannah Milner "Our Darkest Day", wooden type printing, digital printing.
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Simon PerkinsSHARE
Archives New Zealand, Te Rua Mahara o te Kāwanatanga
"Archives New Zealand, Te Rua Mahara o te Kāwanatanga is the official guardian of New Zealand’s public archives. We gather, store and protect an extremely wide range of material. Our holdings include the originals of the Treaty of Waitangi, government documents, maps, paintings, photographs and film."
(The Aotearoa New Zealand Department of Internal Affairs Te Tari Taiwhenua)
Fig.1 "Toehold on a Harbour (1966)", Colour, 10 minutes, 35mm, 972 ft., DV file of Beta SP of telecini of 35mm film. W3606/c/25.
Fig.2 "Introducing New Zealand (1955)", W3471/kk/619 DV file of Beta SP telecini of 35mm film.
Fig.3 "Four Cities (1951) (AAPG W3471/3398)", Silent colour travelogue film around the major cities of New Zealand, Auckland, Wellington, Christchurch and Dunedin. The major sites and scenes of the cities are shown. 2K scan of 16mm reversal print.
CONTRIBUTOR
Simon PerkinsSHARE
The New Zealand Film Archive
"Established in 1981, the Film Archive is an independent charitable trust overseen by a Board of Trustees representing film, archival, Maori and community interests. The Film Archive's constitution and kaupapa express a commitment to collect, protect and connect New Zealand's film and television history.
When an item is in the care of the Archive, it is considered the property of the depositor. Subsequently the copyright for the material remains with the legal rights holders.
The collections of predominantly New Zealand film, video and television date from 1895 to the present day. Every genre of filmmaking - feature films, documentaries, short films, home movies, newsreels, television programmes and film and television advertisements - is represented. There is also a significant documentation collection which includes publicity materials, stills, posters, production records, props, costumes and equipment housed in Wellington.
As there is no statutory deposit legislation for film in New Zealand, material is deposited voluntarily - and without cost to the depositor. Maintaining a kaitiaki role over the collections the Film Archive's guardianship ensures ownership of the original item remains with the depositor and copyright is maintained by the appropriate parties. In the case of material with Maori content, the Film Archive actively maintains relationships with whanau/hapu/iwi to ensure appropriate long term care and access."
(New Zealand Film Archive)
CONTRIBUTOR
Simon PerkinsSHARE
