Associate Professor Arezou Zalipour

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6012- Associate Professor

Email: arezou.zalipour@aut.ac.nz

ORCID: ORCID logo https://orcid.org/0000-0002-5009-0273

Academic appointments:

  • Associate Professor in Screen Production and Cultural Studies, School of Communication Studies, Auckland University of Technology (2018 - ongoing)

Qualifications:

  • PhD, University of Waikato
  • PhD, National University of Malaysia

Overview:

Arezou is a film practitioner-researcher who loves learning, thinking, theorising and making. She has worked in a variety of roles in higher education in different countries for more than 20 years. Her major research in the field of Screen Production and Practice and Audience Studies examines the crucial role and power of screen-based media in fostering participation and belonging in multi-ethnic and multicultural nations. Focusing on the ways in which migration, diaspora and socio-cultural diversity are shaping New Zealand society, Arezou’s project offered an innovative insight into New Zealand film through the first conceptualisation of ‘Asian New Zealand cinema’ inaugurating diasporic film and filmmaking in New Zealand.
Arezou's book Migrant and Diasporic Film and Filmmaking in New Zealand (2019) expanded her research on Asian New Zealanders' films and filmmaking by engaging the screen production and practices of the Pacific communities and other diasporas in New Zealand.

Arezou’s research has led to several creative outputs including: the production of a short documentary 'Paths We Walk' about migrants and refugees in Hamilton which has won nine international awards; Fortune, a 6-episode drama series; a short film proposal that won the best pitch by the NZ Film Commission; development of the Onscreen NZ Diversity website(http://onscreendiversity.co.nz); and (In)visible New Zealand Film Festival as director, concept developer and curator.

Arezou's book Migrant and Diasporic Film and Filmmaking in New Zealand (2019) has generated significant media, public and industry interests, such as:
RNZ, 'Seeing me, Seeing you, Diversity on New Zealand Screens'
NZ Herald, ‘Mind the gap: Screen time uneven’,
Asia Pacific Report, ‘New book boosts diversity, cultural consciousness in NZ film making’
The Big Idea, 'Making Communities Visible’
NZ Herald, 'What is New Zealand movies and TV actually included all New Zealanders?’
Foreign Affairs: Global Open Source Intelligence
AUT News
Evening Reports

Read the reviews of this book:
Journal of Studies in Australian Cinema: https://www.tandfonline.com/doi/abs/10.1080/17503175.2019.1700010
Journal of Media International Australia: https://journals.sagepub.com/doi/abs/10.1177/1329878X19889805?journalCode=miad

Current Projects:
Arezou's work is interdisciplinary and she is keen to develop research collaborations with scholars, practitioners, institutions, and communities around the world on any areas of shared interests.
Arezou is currently working on several practice-based and practice-led projects, including the production of a documentary about Shama: Ethnic Women's Centre, Te Aara Motuhenga (documentary pathways): Industry and Practice, and three book projects in progress; working titles are:
Making Cinemas of Difference (monograph)
At the Intersections: Race, Indigeneity, and Diaspora in Screen Production Research (edited book, with Welby Ings)
At the Intersections: Ageing, Disability, Sexuality and Gender in Screen Production Research (edited book, with Welby Ings)

Postgraduate Supervision:
Arezou welcomes supervision of Masters and PhD research across several fields and disciplinary areas (creative practice, screen and media studies, education, art and design, society and culture).

Selected Postgraduate projects as supervisor/examiner/reviewer:
'Historical and Trend Analysis of the Winners of the Academy Awards’ (Oscars) Best Foreign Language Film' (PhD)
'China's Film co-production in the Autraliasian Region: a Culture Production Perspective' (PhD)
'Southside emerging artists: A documentary about Pasifika youth's passion and struggles' (Master, Creative practice Research)
'Barry Barkley: The reflection of Maori and Pakeha identities'
'The Return: Moana Films and the Re-imaging of Belonging in the Diaspora' (PhD, Creative Practice Research)
'Common/room: An investigation into the potential of a dedicated space, real, virtual or augmented, to support social engagement across cultural boundaries through commoning and whaka whanaungatanga' (PhD, Creative Practice Research, Adviser)

Research interests:

Screen production, practice and industry
Identity and place (ethnic, migrant, indigenous)
Difference, racism, culture, decolonisation, migration, ethnicity
Migrant-indigenous theories, diversity, multiculturalism, postcolonial theories
Diasporic filmmaking, Asian New Zealand cinema
Imagination and creativity, poetic filmmaking
World cinemas, Iranian cinema
Audience and Reception Studies in culturally diverse societies
Social imagination in film audience research
Ethnic media, Community production
Video essay, short film, documentary
Film festival practice, Film co-production, Transnational filmmaking
Practice-based research, practice-led research, (auto)ethnography

Teaching summary:

Since joining AUT's Department of Screen Production (at the School of Communication Studies) in mid-July 2018, Arezou has designed and developed three new papers in relation to the areas of her research expertise: Aesthetics and production of Contemporary World Cinemas (TVSP708); 'Making Cinemas of Difference' (TVSP811); 'Screen Theory in Action'.
Other papers: Screen Production: Non-Fiction (documentary); Screen Narrative Production: Fiction; Media Production Workshop; Media Communication Research Methods/Practice-based Research Methods (COMM802, COMM807)

Fields of research:

  • Communications Technologies
  • Video Communications
  • Creative Arts, Media and Communication Curriculum and Pedagogy
  • Migration
  • Communications and Media Policy
  • Race and Ethnic Relations
  • Studies of Asian Society
  • Film, Television and Digital Media
  • Electronic Media Art
  • Film and Television
  • Interactive Media
  • Creative Writing (Incl. Playwriting)
  • Communication and Media Studies
  • Communication Studies
  • Media Studies
  • Cultural Studies
  • Asian Cultural Studies
  • Migrant Cultural Studies
  • Pacific Cultural Studies
  • Postcolonial Studies
  • Screen and Media Culture
  • Aesthetics

Professional activities:

Appointment, affiliation, and membership

  • Memeber, British Association of Film, Television and Screen Studies (2020 - ongoing)
  • Member, Media, Communication and Cultural Studies Association (MeCCSA) (2020 - ongoing)
  • 2024 PBRF mentoring programme, School of Communication Studies (2020 - ongoing)
  • Associate Professor representative on the School's Research Committee, School of Communication Studies (2020 - ongoing)
  • School's representative at the Faculty's Postgraduate Board of Studies , DCT, School of Communication Studies, AUT (2020 - ongoing)
  • School's Representative at the Postgraduate Examination Board, DCT (2020 - ongoing)
  • Invited Member, Women in Film and Television New Zealand (2019 - ongoing)
  • Regional Judge - the 48hours filmmaking competition in the Waikato region, 48 Hours filmmaking NZ (2019 - ongoing)
  • Associate member of the visual-video research interest group, Waikato University (2019 - ongoing)
  • Invited member, Vā Moana Reading Group (2019 - ongoing)
  • Membership, International Association for Media and Communication Research - IAMCR (2018 - ongoing)
  • Academic Member, Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ) (2018 - ongoing)
  • Learning and Teaching Committee, School of Communication Studies, DCT (2018 - 2020)
  • Board of Trustees, Shama: Ethnic Women’s Centre Trust (2013 - ongoing)
  • Member, Asian Australian Studies Research Network (AASRN) (2012 - ongoing)

      Outreach and engagement

      • ‘Outsider’ voice films open new storytelling spaces (2020)
      • Knowing Ourselves through Film (2020)
      • Asia Pacific Report, ‘New book boosts diversity, cultural consciousness in NZ film making’ (2019)
      • Seeing me, Seeing you, diversity on NZ screens (2019)
      • Women, Film and Diversity (2018)
      • Social-cultural cinema gets a showcasing at Hamilton's Meteor Theatre (2017)
      • Festival celebrates NZ cinema variety (2017)

Research outputs:

Featured research outputs

  • Zalipour, A. (2019). Introduction: Migration and Diaspora Histories and Screen Representation in New Zealand. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 1-31). Singapore: Springer. doi:10.1007/978-981-13-1379-0_1

Books

  • Zalipour, A. (2019). Migrant and Diasporic Film and Filmmaking in New Zealand. Springer, Singapore. doi:10.1007/978-981-13-1379-0

Journal articles

  • Hight, C., & Zalipour, A. (2017). Shopping in a narrow field: Cross-media news repertories in New Zealand. Participations: journal of audience and reception studies, 14(2), 416-436. Retrieved from http://www.participations.org/Volume%2014/Issue%202/21.pdf

  • Zalipour, A., & Athique, A. (2016). Diasporic films and the migrant experience in New Zealand: A case study in social imagination. International Journal of Cultural Studies, 19 (4) 425-440.(4), 425-440.

  • Zalipour, A., & Hardy, A. (2016). Women, religion, and food: Indian diasporic film in New Zealand. Women's Studies: an interdisciplinary journal, 45(8). doi:10.1080/00497878.2016.1232026

  • Zalipour, A. (2015). Interstitial and collective filmmaking in New Zealand: the case of Asian New Zealand film. Transnational Cinemas, 7(1). doi:10.1080/20403526.2016.1111670

  • Zalipour, A. (2014). A social history of Iranian cinema: Volume 4 The globalizing era, 1984-2010. Media International Australia, (152). Retrieved from https://search.informit.com.au/documentSummary;dn=573737634617101;res=IELLCC

  • Zalipour, A., Michelle, C., & Hardy, A. (2014). Modes of engagement among diasporic audiences of Asian New Zealand film. The Communication Review, 17(4). doi:10.1080/10714421.2014.960735

  • Zalipour, A. (2014). Pre-romantic concepts of imagination. Rupkatha Journal on Interdisciplinary Studies in Humanities, 6(1). Retrieved from http://rupkatha.com/pre-romantic-concepts-of-imagination/

  • Zalipour, A. (2014). [Review of A social history of Iranian cinema Vol. 4 the globalizing era, 1984-2010, by Hamid Naficy]. Media International Australia incorporating Culture and Policy, (152). Retrieved from http://search.informit.com.au/documentSummary;dn=573737634617101;res=IELLCC

  • Zalipour, A., & Athique, A. (2014). Diasporic films and the migrant experience in New Zealand: A case study in social imagination. International Journal of Cultural Studies, 19(4). doi:10.1177/1367877914553725

  • Zalipour, A. (2013). 'New' New Zealand stories on the periphery of New Zealand cinema. The Communication Journal of New Zealand: He Kohinga Korero, 13(1).

  • Zalipour, A. (2013). [Review of New beginnings: New Kiwi women write their stories edited by Renee Liang]. Women's Studies Journal, 27(2).

  • Zalipour, A. (2013). [Review of A social history of Iranian cinema, volume 3: The Islamicate period, 1978-1984 by Hamid Naficy[. Media International Australia, Incorporating Culture & Policy, (148). Retrieved from http://search.informit.com.au/documentSummary;dn=535141490550380;res=IELLCC

  • Zalipour, A. (2012). Directory of World Cinema: Iran. Media International Australia, (145), 167-168. Retrieved from http://gateway.webofknowledge.com/

  • Zalipour, A. (2012). [Review of A social history of Iranian cinema volume 1: The Artisanal Era, 1897-1941 by Hamid Naficy; and Review of A social history of Iranian cinema Volume 2: The industrializing years, 1941-1978 by Hamid Naficy]. Media International Australia, Incorporating Culture & Policy, (144). Retrieved from http://search.informit.com.au/fullText;dn=725501610648624;res=IELLCC

  • Zalipour, A. (2012). [Review of Localizing Asia in Aotearoa edited by Paola Voci & Jacqueline Leckie]. Landfall Review Online, (March 1, 2012). Retrieved from http://www.landfallreview.com/history/diasporic-problems/

  • Zalipour, A. (2012). [Review of Directory of world cinema: Iran by Parviz Jahed (ed.)]. Media International Australia, Incorporating Culture & Policy, (145). Retrieved from http://search.informit.com.au/documentSummary;dn=991561807244462;res=IELLCC

  • Zalipour, A. (2011). From poetic imagination to imaging: Contemporary notions of poetic imagination in poetry. Rupkatha Journal on Interdisciplinary Studies in Humanities, 3(4). Retrieved from http://rupkatha.com/V3/n4/07_Contemporary_Notions_of_Poetic_Imagination.pdf

  • Raihanah, M. M., Hashim, R. S., Yusof, N., & Zalipour, A. (2011). The road not taken: Shedding xenophobia, embracing the other in Umm Zakiyyah’s "If I should speak". Asiatic IIUM Journal of English Language and Literature, 5(1). Retrieved from http://journals.iium.edu.my/asiatic/index.php/AJELL/article/view/530

  • Zalipour, A. (2011). Prosaic imagination in contemporary personal poetry. Asian Journal of Literature, Culture and Society, 5(3).

  • Zalipour, A. (2011). [Review of My wedding and other secrets: A true story of Asian diaspora in New Zealand directed by Roseanne Liang]. Women's Studies Journal, 25(2).

  • Zalipour, A. (2010). Phenomenological studies of imagination in poetry: An introduction. 3L Language, Linguistics and Literature : the Southeast Asian Journal of English Language Studies, 16(1). Retrieved from http://ejournals.ukm.my/3l/article/view/1007

  • Zalipour, A. (2010). Reality over imagination in Muhammad Haji Salleh’s Rowing Down Two Rivers. Journal of Malay Literature, 23(1).

Creative works

  • Zalipour, A. (2018). Women, film and diversity (No. Of Pieces: 6 short films accompanied by an oral presentation and Q&A session) [Artefact]. University of Waikato: University of Waikato and Hamilton Film Society. Retrieved from https://selketky.wixsite.com/iwdkirikiriroa

  • Zalipour, A. (2017). Onscreen New Zealand Diversity (No. Of Pieces: Website) [Artefact]. Online: Onscreen Diversity. Retrieved from http://onscreendiversity.co.nz/

  • Zalipour, A. (2017). Fortune drama series, Season 1: 6 episodes [Production team, script supervisor]. Chasing time Production [Artefact].

  • Zalipour, A. (2017). (In)Visible New Zealand Film Festival (No. Of Pieces: 14 days) [Artefact]. The Meteor Theatre, Hamilton, New Zealand: The Meteor Theatre. Retrieved from https://www.stuff.co.nz/

  • Zalipour, A. (2016). Closely Knit [Artefact].

  • Zalipour, A. (2014). 9 Parts of Desire [Artefact]. Carving in Ice Theatre Company. Retrieved from http://heatherraffo.com/

  • Zalipour, A. (2014). Paths we walk (short narrative documentary) (No. Of Pieces: 9 minutes) [Artefact]. Hamilton, New Zealand: Chasing Time Productions. Retrieved from http://www.chasingtimeproductions.com/pww.html#pww

  • Zalipour, A. (2014). For the voice [Artefact]. Retrieved from http://nzpoetsonline.homestead.com/AZ37.html

  • Zalipour, A. (2013). A constellation in Aotearoa [Artefact]. Monster Fish Publishing.

Book chapters

  • Zalipour, A., & Hardy, A. (2019). Tusi Tamasese. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 171-183). Singapore: Springer. doi:10.1007/978-981-13-1379-0_10

  • Zalipour, A. (2019). Introduction: Migration and Diaspora Histories and Screen Representation in New Zealand. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 1-31). Singapore: Springer. doi:10.1007/978-981-13-1379-0_1

  • Zalipour, A. (2019). Sima Urale. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 159-170). Singapore: Springer. doi:10.1007/978-981-13-1379-0_9

  • Zalipour, A. (2019). Roseanne Liang. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 185-197). Singapore: Springer. doi:10.1007/978-981-13-1379-0_11

  • Zalipour, A. (2019). Stephen Kang. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 199-209). Singapore: Springer. doi:10.1007/978-981-13-1379-0_12

  • Zalipour, A., & Kothari, S. (2019). Shuchi Kothari. In A. Zalipour (Ed.), Migrant and Diasporic Film and Filmmaking in New Zealand (pp. 145-158). Singapore: Springer. doi:10.1007/978-981-13-1379-0_8

  • Zalipour, A. (2019). Production in the Pedagogic Project of Media Literacy. In R. Hobbs, & P. Mihailidis (Eds.), The International Encyclopedia of Media Literacy. John Wiley & Sons Inc. doi:10.1002/9781118978238.ieml0192

  • Zalipour, A. (2016). Integrating through screen: The Muslim diaspora in New Zealand. In E. Kolig, & M. Voyce (Eds.), Muslim Integration Pluralism and Multiculturalism in New Zealand and Australia (pp. 129-147). United States of America: Lexington Books.

  • Zalipour, A. (2015). Emerging Asian New Zealand filmmakers in New Zealand cinema. In B. Goldsmith, M. D. Ryan, & G. Lealand (Eds.), Directory of World Cinema: Australia and New Zealand 2 (pp. 311-319). Intellect. Retrieved from http://www.intellectbooks.co.uk/books/view-Book,id=4951/

  • Zalipour, A. (2007). Imaging and imagining realities: Conceptualising poetic imagination in contemporary poetry. In Re-visioning Realities through Literary Discourse (pp. 158-176). Petaling Jaya, Malaysia: Pearson Longman.

  • Zalipour, A. (2005). The Shahnameh of Ferdowsi: The soul of Iran saga. In G. Subramaniam, I. Azyze, S. I. Hamdan, & R. S. Hashim (Eds.), Nationhood in Literature: Expressions of Realities (pp. 221-232). Selangor Darul Ehsan, Malaysia: Universiti Kebangsaan Malaysia.

Conference contributions

  • Zalipour, A. (2019). Asian Diasporic Film and Film-making in New Zealand. In Asian Cinema Studies Society Conference. LASALLE College of the Arts: Faculty of Fine Arts, Media & Creative Industries at LASALLE College of the Arts,.

  • Zalipour, A. (2019). Tacit knowledge in the screen production pedagogy in the Aotearoa context (Panel chair and organiser). In Australian Screen Production Education & Research Association 2019 (ASPERA). Sydney: Australian Film, Television and Radio School (AFTRS). Retrieved from http://www.aspera.org.au/

  • Zalipour, A. (2018). ‘The brain is the screen’, the screen is the society: The utility of diasporic
    cinema in advancing socio-cultural diversity. In SSAAANZ 2018 conference - The Uses of Cinema: Film, Television, Screen. Melbourne: Second Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ).

  • Zalipour, A. (2017). From memory to imagination and back: Viewers' responses to Tusi Tamasese's One Thousand Ropes. In Oceanic Memory: Islands, Ecologies, Peoples. .

  • Zalipour, A. (2017). Defining the terms - Functions of ethnic media. In Ethnic migrant media forum 2014 curated proceedings. Auckland: epress Unitec.

  • Bliss, E., & Zalipour, A. (2015). "It's the sharing that you need to understand": Exploring emotional and cognitive learning in an interdisciplinary digital storytelling context. In Voices of Change Conference 2015: Storywork in Activism, Education and Public Service. .

  • Zalipour, A. (2011). Emerging Asian New Zealand filmmakers in New Zealand cinema. In Past Tensions, Reflections on Making History. NZ Historical Association Conference. .

  • Zalipour, A., Raihanah, M. M., Hashim, R. S., & Yusof, N. M. (2011). The veil and veiled identities in Iranian diasporic writings. : IEEE Press.

Oral presentations

  • Zalipour, A. (2019). (In)Visible New Zealand Film Festival: Making Socio-Cultural Diversity Visible. Auckland University of Technology.

Other outputs

  • Zalipour, A. (2020). 'Let's Talk - starting the conversations about sexual violence in our own communities' -. Retrieved from https://nzfvc.org.nz/

  • Zalipour, A. (2019). To build social cohesion, our screens need to show the same diversity of faces we see on the street. In The Conversation. Retrieved from https://theconversation.com/

  • Zalipour, A. (2017). Film and Diversity in New Zealand.

  • Zalipour, A. (2017). Film and Diversity. In Shama News Bulletin (Iss. 4). Sharma.

  • Zalipour, A. (2016). [Review of D-passage: The digital way by Trinh T Minh-ha]. In Media International Australia (Vol. 158, Iss. 1). Australian Film TV & Radio Sch. doi:10.1177/1329878X15622081g

  • Zalipour, A. (2016). Book Review: Beyond the Screen: Emerging Cinema and Engaging Audiences by Sarah AtkinsonSarah. In Media International Australia (Vol. 158, Iss. 1). Australian Film TV & Radio Sch.. doi:10.1177/1329878X15622081

  • Zalipour, A. (2014). Nuances of ethnic media in New Zealand.

  • Zalipour, A. (2014). Transported by the film narrative? A case study in the diasporic audience of New Zealand film.

  • Zalipour, A. (2013). Diasporic spaces of gender and sexuality.

  • Zalipour, A. (2012). A Social History of Iranian Cinema, vol 2, The Industrializing Years, 1941-1978. In Media International Australia (Iss. 144). Retrieved from http://gateway.webofknowledge.com/

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