Information for companies on becoming a corporate partner with WIFT NZ.
These guidelines, prepared by NZ Casting Directors in consultation with NZ Actors Agents, outline reasonable expectations in the casting process in the context of the New Zealand screen industry.
Past WIFT NZ administrator Emma Blomkamp has kindly made available her MA thesis for reference on our site. It may interest researchers, students, and anyone seeking to gain an understanding of New Zealand's recent history of short films (especially 1997-2007) and NZFC film funding policy.
ScreenSafe's guidance on the prevention and response to bullying in the New Zealand screen industry.
The New Zealand Writers Guild Collaboration Advanced Agreement.
This directory of international feature film sales agents is compiled by Screen Australia, and provides a snapshot of companies representing Australian films around the world.
Included within are details of each seller’s acquisition policy, which markets they attend, at what stage they prefer to be approached and whether they pay
advances.There’s also a list of the Australian films that agents have handled.
Last updated December 2020.
This timeline, researched and written by Helen Martin, traces the history of Women in Film and Television, from the establishment of WIF in Los Angeles in 1973, through the founding of WIFT Wellington in 1994, to the tenth anniversary of WIFT Auckland in 2005.
This recent Film Industry Study by Dr. Martha Lauzen, a professor at San Diego State University, details the small - and in some fields declining - proportion of women directors, executive producers, producers, writers, cinematographers, and editors working on American films.
Following on from the WIFT Documentary Hui in 2007, Creative NZ and NZFC commissioned a report researching New Zealand’s independent documentary sector. The report identifies current barriers and opportunities and presents the views of documentary makers on ways to support the career paths of those in the sector and enhance documentary making opportunities in New Zealand.
In 2009, the NZ Government announced a review of the New Zealand Film Commission to be led by New Zealand film-maker Peter Jackson and David Court, Head of Screen Business at the Australian Film, Television & Radio School. WIFT NZ was one of 57 submitters whose submissions to the review team cam be read in this document.
The New Zealand Film Commission's list of feature films made in NZ from 1939-2013.
The New Zealand Film Commission's list of feature films made in NZ from 2013 to October 2020.
This report examine relationships between diversity and the bottom line in the Hollywood entertainment industry. It examines 453 scripted broadcast, cable and digital platform television shows from the 2017-18 season and 463 such shows from 2018-19 in order to document the degree to which women and people of colour are present in front of and behind the camera. It discusses any patterns between these findings and conventional and social media audience ratings.
'Celebrating Women Changing the World One Frame at a Time.' Features updates from the Executive, President and Vice President of WIFT NZ, profiles on Claudia Pond-Eyley and Marian Evans as well as information about the WIFT Awards 2010 finalists.
Video piracy and Intellectual Property: the debate; Patsy Reddy: the woman at the helm of the NZFC Board; WIFT mentors making a difference; Matchmover and 3D tracker Marzena Zareba fleshes out her job description.
WIFT Going National; Women on Boards; Making Movies with Pietra Brettkelly; Mediascape - watching the watchers; promo producer and motion graphics artist Karlie Fisher explains what she does.
This issue features Grass Roots News; Sorting out the Big Stuff with Sian Jaquet; an up date on the 48HOUR Film Festival, and Anna Marbrook's Table Plays.
This issue has a feature on US filmmaker Alexis Krasilovsky, scriptwriter Caley Martin outlines a normal week on the storyboarding team for Shortland St, Mary Anne Bourke and Sophie Cherry explain how the Robin Laing Scholarship has boosted their careers and in What I Do, key grip Annie Frear outlines what her job entails.
This issue has a feature on Caterina De Nave, a history of WIFT in New Zealand, Zen And The Art Of Documentary by camera operator Samara McDowell, and in What I Do, colourist Kim Hickey outlines her job.