A survey of the local, independent music in New Zealand, its overseas reception and musical identities in New Zealand

Heylin, C. (1993) From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World, Harrnonsworth: Penguin Books

The conventional function of film music, it has been argued, works "to support and complement the style, mood and narrative of [a] film" This explanation serves however to elide a range of other factors which determine the composition of film scores. This article will attempt to map and explore a range of these with specific regard to the highly successful Australian feature Strictly Ballroom and emphasise the crucial role played by factors such as: budgetary parameters; copyright permission; marketing considerations; and the personal tastes of the production team.

The Winfield Cup, sponsored as the name suggests by the Australian tobacco manufacturer Rothmans for its Winfield brand of cigarettes, is Australia's major Rugby League competition. This article looks at efforts by the sport's body to use rock music and music video style ads, to deliver a female TV audience and promote female attendance at games.

This article considers the degree to which sexism permeates the music industry in Australia and what kinds of intervention are necessary in order to effect a change in the attitudes, opportunities and culture of the sector. This article will attempt to address these issues by analysing the project and operation of Australia's one organised feminist intervention into the industry, Australian Women's Contemporary Music Inc. (henceforth A WCM).

While radio broadcasting in post-colonial New Zealand has been dominated by Pākehā, Māori have challenged their dominance of the nation’s airwaves in recent decades, having successfully carved out a space for themselves within the New Zealand mediascape. Nevertheless, getting more Māori music (especially songs with te reo lyrics) on radio and other forms of broadcasting media remains a challenge—especially in the New Zealand commercial broadcasting sphere. This challenge has been addressed in various ways by the two organizations mandated to promote Māori language and Māori culture via broadcasting, Te Māngai Pāho (TMP) and New Zealand On Air (NZOA). This article describes and evaluates their responses to calls for more Māori music on air, and suggests further measures that could be implemented to increase the broadcasting of such music. It will also place TMP and NZOA’s strategies in the context of broader New Zealand cultural-political shifts, and changes in the New Zealand broadcasting environment. The article asks whether, or to what extent, cultural protectionism is needed in New Zealand’s current deregulated and diversifying broadcasting environment.

Following its extensive Australian Music on Radio Inquiry conducted between 1982 and 1988, the Australian broadcasting regulator concluded that commercial radio had a responsibility to support the development of Australian music but its own systems for ensuring they fulfilled that responsibility were insufficient. While, as an objective of broadcasting policy the support for Australian music intersected with the federal government’s interest in aiding the development of the local music industry, the government’s concurrent interest in deregulating the broadcasting sector impeded the ability of regulator to address its regulatory deficiencies. In this article I explore how the objective to encourage radio to support the development of the Australian music industry generated a key rationale for the development of non-commercial youth radio services that translated into establishment of the ABC Triple J youth radio network in the 1990s and a set of independent youth community radio stations in the early 2000s.

Mainstream commercial cinema’s increasing access to highly advanced computer-generated imagery (CGI) has allowed it to produce convincing evocations of places and experiences that increasingly blur the line between the represented ‘real’ of actual locations and digitally generated fictional spaces. This article discusses one such evocation: the spectacular cave system featured in the film Sanctum (2011), directed by Alister Grierson. The first part of this article examines the manner in which audio-visual elements of the film produce a representation of a Papua New Guinean landscape and locale and, in particular, analyses the manner in which David Hirschfelder’s score provides an element of musical exoticism that serves to complement this. The second part of the article discusses issues of cultural use relevant to the film score’s prominent use of an unattributed vocal sequence.