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Abstract:
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Over the past two decades, the amount of media attention and scholarly research
focused on New Zealand feature-films has greatly increased. However, because this
work has emphasised directors and films from 1977 onwards, John O’Shea (1920-
2001) has not received the detailed treatment called for in terms of the crucial role he
played in sustaining and building film production in New Zealand through his
company Pacific Films.
This thesis seeks to make a comprehensive study of one of O’Shea’s most important
feature films, Runaway (1964). The film provides a classic example of the
importance of contexts in film study, and this thesis seeks to explore a variety of
relevant contexts – the previous history of film production in New Zealand; the
development of a general ‘film culture’; O’Shea’s personal background; the events
leading up to the Runaway’s production; the social, cultural, technical and financial
challenges O’Shea faced in completing the film; and its reception and subsequent
influence. His earlier and later feature films are also discussed in some detail.
The limited amount of previous scholarship on this topic necessitated primary
research of various kinds, beginning with a study of the extensive records of Pacific
Films – scripts, correspondence, music scores, flyers, press clippings, etc. Interviews
were conducted with O’Shea over a six-year period. In addition, interviews were held
with various people involved in the production of Runaway, as well as a number of
writers. These included Colin Broadley, Betty Curnow, John Graham, Kevin Ireland,
William Johnstone and Ian Mune.
Runaway makes an interesting case study for many reasons – its novelty as the first
35mm feature made in New Zealand for 12 years; O’Shea’s struggle to create the
necessary creative and technical infrastructure; the influence of contemporary
European cinema; the film’s portrayal of an ‘Angry Young Man’ combined with the
New Zealand ‘Man Alone’ tradition; and its creative achievement in a situation when
there were so few precedents or possible ways of funding film-making. This thesis
seeks to expand the record of an under-researched period of our film history, to
provide insights into the dynamics of New Zealand culture at the time, and to analyse
O’Shea’s remarkable contribution to the development of a local film industry. |
