ABSTRACT
This paper examines distribution and delivery outlets of films in New Zealand which have been often ignored by policy, media debates, and academic studies. The paper argues that in New Zealand both sectors are currently controlled by transnational companies and dominated with foreign supply. The paper concludes that the existence of entrenched codependent relations among various film distributors and commercialisation outlets in the country have become de facto economic powers influencing relationships with local film producers and the availability of culturally diverse films in media outlets.
Acknowledgement
The author would like to thank Dr. Deborah Jones and Dr. Geoff Stahl for their guidance and feedback.
Disclosure statement
No potential conflict of interest was reported by the author.
Notes on contributor
Argelia Muñoz Larroa PhD in Management by Victoria University of Wellington; MA in International Affairs and BA in History by Universidad Nacional Autónoma de México.
ORCID
Argelia Muñoz Larroa http://orcid.org/0000-0001-5818-4381
Notes
1. This paper examines transnationalism from the point of view of the political economy of the film industry. For a discussion of transnational cinema within the context of the history of film culture in New Zealand, see Sigley (Citation2013). For a theoretical discussion of production-based transnationalism versus the national cinema paradigm within the field of film studies see Hjort (Citation2009).
2. See Churchman (Citation1997) and Cook (Citation2014) for a historical overview.
3. In these statistics the total box office for NZ and Fiji in 2012 was US$140, 907, 853, and the box office revenue for the majors and their subsidiaries was US$103, 150, 583.
4. For example, Downtown Cinema, State Cinema, Lighthouse, Deluxe Cinemas, Art House and Bay City.
5. In a different source NZ released 12 movies in 2012 (NZFC Citation2013).