industry was just emerging. Horrocks became Head of the Centre for Film, Television and Media Studies established in 1994, and was appointed Head when it became a full department in 2000. He wrote and edited textbooks (beginning with On Film in 1980) and many academic papers and books (such as Television in New Zealand, which he co-edited with Laurence Simmons in 2004). A number of his students went on to become film-makers, or academics in the field of media studies. (The film-makers include: David Blyth, Vanessa Alexander, Sam Pillsbury, Alison Maclean, Gregor Nicholas, Hester Joyce, Roseanne Liang, Lisa Reihana, Dan Salmon, and Ray Waru. Academics include Brian McDonnell, Trisha Dunleavey, Simon Sigley, Geraldene Peters, Xuelin Zhou, Margaret Henley, and Lynne Star.) He also played a significant part in the establishment of film teaching and media studies in secondary schools. During the 1980s, Horrocks was a co-editor of the influential literary magazines AND (1984–85) and Splash (1984–86), and a Contributing Editor to Parallax (1982-3). Mark Williams in The Oxford History of New Zealand Literature in English has characterised Horrocks as one of ‘New Zealand’s most alert and inventive critics.' Douglas McNeill in the Journal of New Zealand Literature describes him as ‘a close reader’s close reader.’ Terry Sturm singled out his essay ‘The Invention of New Zealand’ as a ‘seminal’ reading of the work of Allen Curnow. A selection of Horrocks's criticism was published as Re-Inventing New Zealand, 2016, and he has also written collections of poetry, including Song of the Ghost in the Machine which was a finalist in the 2016 Ockham New Zealand Book Awards. Len Lye Horrocks played a central role in the re-discovery of expatriate film-maker, kinetic sculptor and writer Len Lye. He worked as Lye's assistant during the artist's last year (1980), then after his death he helped to ensure that his papers and works were returned to New Zealand. Horrocks wrote a biography of the artist which was a finalist in the 2002 New Zealand Book Awards and has been described by the British journal Sight and Sound as the “definitive piece of Lye scholarship”. His subsequent book, Art That Moves (2009), explores the aesthetics of Lye's “new art of motion.” He has also edited three volumes of Lye's writings and co-edited another. In 2012 he wrote the libretto for Len Lye: the Opera, with music by Eve de Castro-Robinson, which was performed at the