FrontCover -- Half-title -- Title -- Copyright -- Contents -- List of Illustrations -- Acknowledgements -- Glossary of Ma-ori Terms -- List of Abbreviations -- Introduction -- New Zealand Screen Production and Political Economy -- 'New Zealand-Domiciled' Feature Film and Television Drama -- The Institutional Ecology for New Zealand-Domiciled Screen Production -- 'Localness' and 'Universality' -- New Zealand Screen Production and Cultural Considerations -- Research Questions and Chapter Organisation -- Chapter 1: Television in the Era of Public Monopoly (1960-88) -- Introduction -- Television and National Culture -- The Inception of Television -- The Single-Channel Era (1960-74) -- Two-Channel Independence (1975-79) -- Two-Channel Complementarity: The First Years of TVNZ (1980-88) -- 'Public Service' Objectives in Programming -- Ma-ori Television -- Locally-Produced TV Drama in the Monopoly Era -- The Institutional Culture for TV Drama Production -- Three Landmark TV Drama Productions -- Pukemanu (1971-72) -- The Governor (1977) -- Erebus the Aftermath (1987) -- Conclusions -- Chapter 2: Pioneers, Mavericks and the Inception of a National Cinema (1960-88) -- Introduction -- Cinema, Industry and National Culture -- The Film Industry Working Party -- Television and the Emergence of a Fledgling Film Industry -- The Development of the New Zealand Film Commission -- The NZFC's Founding Act of Parliament -- Halcyon Days: the First Years of the NZFC (1978-82) -- The Tax Shelter Years (1982-84): A Production Boom and Bust -- NZFC Policy Directions in the Mid-1980s -- Neo-Liberal Politics and Some Initial Impacts -- New Zealand Film-Making: The Achievement of a Production Industry and a Distinctive Voice -- New Zealand Feature Films: Three Contrasting Examples -- Sleeping Dogs (1977) -- Vigil (1984) -- Nga-ti (1987) -- Conclusions.

Chapter 3: Television, Neo-liberalism and the Advent of Competition (1988-99) -- Introduction -- The Neo-Liberal Turn and 'New Zealand Experiment' -- Neo-Liberalism and Television -- The Restructuring and Deregulation of Broadcasting -- The New Broadcasting Legislation -- The Creation and Role of New Zealand On Air -- NZoA's Funding Allocation Strategies -- Successes and Failures: The First Decade of Competition -- The Proposal to Sell TVNZ -- Commissioning Culture after Deregulation -- The Independent Sector, Local-Content and South Pacific Pictures -- TV Drama Production in the 1990s -- Case Study of Shortland Street (1992-) -- Conclusions -- Chapter 4: Neo-Liberalism and the Consolidation of a National Film Industry (1988-97) -- Introduction -- Challenges for the NZFC in the Late 1980s -- The Emergence of an NZFC Script Development Policy -- Changes in Television, New Zealand On Air and New Horizons for the Film Industry -- Alternative Forms and Related Strategies: Short Films and One-Off Dramas -- Renewed Production, Consolidation and Success -- Changes of Direction for the NZFC -- The 'Low Budget Film' and Other Developments in NZFC Funding Criteria -- International Collaborations -- Further Changes to NZFC Directions and Policy: The Ruth Harley Era -- Case Studies of An Angel at My Table (1990) and The Piano (1993) -- Case Studies of Once Were Warriors (1994) and Heavenly Creatures (1994) -- Conclusions -- Chapter 5: Television after 2000: Digital 'Plenty' in a Small Market -- Introduction -- Public Television Post-2000: The TVNZ Charter and Other Initiatives -- Establishing a Ma-ori Television Network -- Unrealistic Expectations and Conflicting Objectives: The Failure of the TVNZ Charter -- Intensifying Competition in a Deregulated Television Market.

Free-to-Air Digital Television and New Digital Channels -- The Post-2000 Context for TV Drama Production -- Locally-Produced TV Drama and the Influence of New Zealand On Air -- Case Study of Outrageous Fortune (2005-10) -- Conclusions -- Chapter 6: New Zealand Cinema and Internationalism (1998-2010) -- Introduction -- Film Industry Criticisms of the NZFC -- Cultural Considerations and a Change of Government -- The Film Production Fund Trust: Operation and Outcomes -- The Screen Industry Taskforce and Other Government Initiatives -- Branding New Zealand: Peter Jackson and 'Wellywood' -- Enticing International Investment: The Large Budget Screen Production Grant -- The Implications of an International Presence -- Facilitating Local Production: The Screen Production Incentive Fund -- Maintaining New Zealand-Domiciled Feature Film -- The NZFC and Ma-ori-Themed Feature Films -- Case Study of Whale Rider (2002) -- Case Study of Boy (2010) -- Evaluating the Changing Context for New Zealand Film Production (2008-10) -- Conclusions -- Conclusions -- Institutional and Cultural Change in Television -- Institutional and Cultural Change in Film -- Key Influences on New Zealand-Domiciled Feature Film and TV Drama -- References -- Index.