Simon Sigley is a senior lecturer at Massey University’s Auckland campus where he teaches film history and film criticism, as well as digital media production. He works on the symbolic role and function of film in the cultural imaginary, focusing on memory and representation. He has published a book (Transnational Film Culture in New Zealand, 2013), journal articles, book chapters, and videos (www.interviewprojectnz.com) on film culture, film reception and documentary film. He is currently working on a cultural history of the National Film Unit.

• Chapter 1: In Defence of Films as Art• The Overseas Context • Film Availability in New Zealand• The Auckland Film Society (1929)• The Auckland Star Film ReviewsChapter 2: Second Thoughts About Art• The Wellington Film Society (1933)• The Road to Ruin• A Parliamentary Inquiry• Turning Left• The Federation of Film Societies• The Film Institutes (1934–39)Chapter 3: Thesis and Antithesis – Tomorrow on Film• Early Film Criticism• Defending the Cinema• The Importance of Documentaries• The Cinema and Education• Other ContributionsChapter 4: Public Policy and Private Enterprise• Institutions and Agents• The National Film Library• Independent Film Distribution• Film Criticism Goes NationalChapter 5: Building the Cultural Infrastructure • The Revival• Developing Discursive Practices• Collaboration with Business• The Perils of PassivityChapter 6: Happy Together: Education, Networks, Festivals • Magazines and Film Classes• The Winter Film School• Commerce and Co-operation• At the Art-houseChapter 7: Nouvelle Vague: Film Culture Meets Counterculture• The Auckland International Film Festival (1969)• Youth Culture and Film Censorship: 1930s Redux• The Wellington Film Festival• Some ConclusionsChapter 8: Between Spectacle and Memory• Film Festival Expansion• Programming the Nation• Festival Professionalization• Creating a Memory Site• Born in Poverty• The Last Film Search (1993–2000)• Roadmap for the Future

Simon Sigley is a senior lecturer at Massey University’s Auckland campus where he teaches film history and film criticism, as well as digital media production. He works on the symbolic role and function of film in the cultural imaginary, focusing on memory and representation. He has published a book (Transnational Film Culture in New Zealand, 2013), journal articles, book chapters, and videos (www.interviewprojectnz.com) on film culture, film reception and documentary film. He is currently working on a cultural history of the National Film Unit.

• Chapter 1: In Defence of Films as Art• The Overseas Context • Film Availability in New Zealand• The Auckland Film Society (1929)• The Auckland Star Film ReviewsChapter 2: Second Thoughts About Art• The Wellington Film Society (1933)• The Road to Ruin• A Parliamentary Inquiry• Turning Left• The Federation of Film Societies• The Film Institutes (1934–39)Chapter 3: Thesis and Antithesis – Tomorrow on Film• Early Film Criticism• Defending the Cinema• The Importance of Documentaries• The Cinema and Education• Other ContributionsChapter 4: Public Policy and Private Enterprise• Institutions and Agents• The National Film Library• Independent Film Distribution• Film Criticism Goes NationalChapter 5: Building the Cultural Infrastructure • The Revival• Developing Discursive Practices• Collaboration with Business• The Perils of PassivityChapter 6: Happy Together: Education, Networks, Festivals • Magazines and Film Classes• The Winter Film School• Commerce and Co-operation• At the Art-houseChapter 7: Nouvelle Vague: Film Culture Meets Counterculture• The Auckland International Film Festival (1969)• Youth Culture and Film Censorship: 1930s Redux• The Wellington Film Festival• Some ConclusionsChapter 8: Between Spectacle and Memory• Film Festival Expansion• Programming the Nation• Festival Professionalization• Creating a Memory Site• Born in Poverty• The Last Film Search (1993–2000)• Roadmap for the Future

Simon Sigley is a senior lecturer at Massey University’s Auckland campus where he teaches film history and film criticism, as well as digital media production. He works on the symbolic role and function of film in the cultural imaginary, focusing on memory and representation. He has published a book (Transnational Film Culture in New Zealand, 2013), journal articles, book chapters, and videos (www.interviewprojectnz.com) on film culture, film reception and documentary film. He is currently working on a cultural history of the National Film Unit.

• Chapter 1: In Defence of Films as Art• The Overseas Context • Film Availability in New Zealand• The Auckland Film Society (1929)• The Auckland Star Film ReviewsChapter 2: Second Thoughts About Art• The Wellington Film Society (1933)• The Road to Ruin• A Parliamentary Inquiry• Turning Left• The Federation of Film Societies• The Film Institutes (1934–39)Chapter 3: Thesis and Antithesis – Tomorrow on Film• Early Film Criticism• Defending the Cinema• The Importance of Documentaries• The Cinema and Education• Other ContributionsChapter 4: Public Policy and Private Enterprise• Institutions and Agents• The National Film Library• Independent Film Distribution• Film Criticism Goes NationalChapter 5: Building the Cultural Infrastructure • The Revival• Developing Discursive Practices• Collaboration with Business• The Perils of PassivityChapter 6: Happy Together: Education, Networks, Festivals • Magazines and Film Classes• The Winter Film School• Commerce and Co-operation• At the Art-houseChapter 7: Nouvelle Vague: Film Culture Meets Counterculture• The Auckland International Film Festival (1969)• Youth Culture and Film Censorship: 1930s Redux• The Wellington Film Festival• Some ConclusionsChapter 8: Between Spectacle and Memory• Film Festival Expansion• Programming the Nation• Festival Professionalization• Creating a Memory Site• Born in Poverty• The Last Film Search (1993–2000)• Roadmap for the Future