Gerry Power

Mount Hutt is not only arguably New Zealand's finest ski area, it is a winter playground that saved the small mid-Canterbury town of Methven from slow economic death. The story of the skifield's development is a fascinating saga of latter-day pioneering by a band of rugged individualists who overcame almost insurmountable odds to establish this superb winter sports venue. White Gold chronicles Mount Hutt's development and covers all its subsequent trials and tribulations to the present day. The book is extensively illustrated with portraits of personalities and events, many from private collections and previously unpublished, and spectacular skiing and snowboarding photographs. This book will appeal not just to the skiing or alpine enthusiast, but to anyone who enjoys a tale of triumph, tragedy, intrigue, drama and humour.

The Mount Hutt Story

White Gold

Marie Gillespie

Andrew Skuse

How do drama serials communicate development goals and achieve dramatic impact? What is involved in translating storylines, such as those from the BBC’s longest running radio soap opera, The Archers, for diverse local cultural contexts? Can drama serials bring about positive social change? This book offers unprecedented insights into the production and consumption of a range of popular radio and television drama serials, broadcast in places as diverse as Afghanistan, Burma, Cambodia, Nepal, Pakistan, India, Nigeria and Rwanda. It brings into dialogue the perspectives of the creative teams who make ‘dramas for development’, the donors who pay for them, and the audiences who consume them. It also highlights the crucial role of audience research as a tool for making drama and as a resource for translating cultures. This book emerges from a unique research collaboration over a three year period between The Open University, the University of Adelaide, and the BBC World Service Trust. This path-breaking initiative opens windows on the intertwined worlds of media and development for academics and audiences alike. Cultural translation means different things for dramatists, development practitioners, donors, audiences, and scholars. Their interests may collude or collide. What accommodations and adjustments are entailed in transnational circuits of serial drama production? What imaginative investments are required on the part of dramatists unfamiliar with local cultures? What cultural assumptions need to be exploded to reach audiences? This book offers an innovative framework for analysing drama for development that will appeal to practitioners and academics alike.

Gerry Power

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