First decade of WIFT in NZ

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.

The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 250 Films of 2009

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.

Research into NZ's Independent Documentary Sector

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.

NZFC Review - Submissions

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.

Feature films made in NZ from 1939-2013

The New Zealand Film Commission's list of feature films made in NZ from 1939-2013.

Feature films made in NZ from 2013 to October 2020

The New Zealand Film Commission's list of feature films made in NZ from 2013 to October 2020.  

UCLA Hollywood Diversity Report 2020 - Television

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.