[Ngāi Te Rangi] Producer, Presenter
Joanna Paul has a career spanning more than 25 years in the media — including stints as an actor, producer and high profile newsreader. From 2002 to 2004 she was general manager of programmes and production at Māori Television.
The positive public response to the style and mix of Maori Television's programming was, in large part, due to Joanna's vision for the type of programming that would have wide appeal. Māori Television Chief Executive Ani Waaka, in 2004
This 2014 documentary celebrates Māori Television’s first decade. It begins by backgrounding campaigns that led to the channel (despite many naysayers). Interviews with key figures convey the channel's kaupapa – preserving the past and te reo, while eyeing the future. A wide-ranging survey of innovative programming showcases the positive depictions of Māoridom, from fresh Waitangi, Anzac Day, basketball and 2011 Rugby World Cup coverage, to Te Ao Māori takes on genres like current affairs and reality TV (eg Native Affairs, Homai Te Pakipaki, Kai Time on the Road, Code, and more).
A special tribute to 20 years of TV3's late night news show Nightline — including interviews with most of its regular newsreaders and major contributors of the previous two decades. Belinda Todd pops up in Los Angeles via satellite link and Darren McDonald is "door-stepped" at home while the others celebrate in a Ponsonby Road bar. There's a tribute to the late Dylan Taite; and other packages are devoted to Belinda Todd's more notorious antics, Bill Ralston's gonzo approach to politics, the show's arts coverage and its on-going love affair with nudity.
The opening episode of the Prime TV series celebrating 50 years of New Zealand television travels from an opening night puppet show in 1960, through to Outrageous Fortune five decades later. It traverses the medium's development and its major turning points (including the rise of programme-making and news, networking, colour and the arrival of TV3, Prime, NZ On Air, Sky and Māori Television). Many of the major players are interviewed. The changing nature of the NZ living room — always with the telly in pride of place as modern hearth — is a story within the story.
This edition in Prime’s television history series surveys Māori programming. Director Tainui Stephens pairs societal change (urbanisation, protest, cultural resurgence) with an increasing Māori presence in front of and behind the camera. Interviews with broadcasters are intercut with Māori screen content. The episode charts an evolution from Māori as exotic extras, via pioneering documentaries, drama and current affairs, to being an intrinsic part of Aotearoa’s screen landscape, with te reo used on national news, and Māori telling their own stories on Māori Television.
Lovers move towards each other through space and time in this episode of te reo series Aroha. Tapu (Cliff Curtis) plays a doctor who is unnerved by the strange behaviour of elderly patient Kahu. Kahu's death affects his niece Irikura (Ngarimu Daniels) deeply, and at the tangi secrets are revealed. Tapu and Irikura are haunted by visions of a shared past; Kahu's ghost has plans for them. This episode played in black and white. Celebrated Māori actor and mentor Don Selwyn plays Kahu. Director Guy Moana created tā moko and carvings for classic 1994 film Once Were Warriors.
When traumatised soldier Matiu returns from service overseas, he struggles to reconnect with his wife and children. In this episode of te reo series Aroha, the marriage between Matiu (Te Kauri Wihongi) and Wai (Rena Owen) mirrors the Māori legend of Niwareka and Mataora, a union between spiritual and earthly worlds. Matiu decides to seek out his ghosts; he symbolises his reunion with his family through a facial tā moko performed by his father-in-law (Wi Kuki Kaa). Mataroa was written by Aroha co-creator Karen Sidney. It won an award at Canadian festival ImagineNATIVE.
Te reo anthology series Aroha looks at love in all its different forms. This episode follows Tiare (Taungaroa Emile from Once Were Warriors), a shy young Rastafarian caught between several rocks and many hard places. He struggles to tell his sister’s friend Erena (Stacey Daniels Morrison) that he loves her, while grappling with whether to tell his ex Black Fern sister that her boyfriend — and father of her child — is cheating. Luckily, all his problems seem to have one solution…a good old game of rugby. The episode was directed by the late Melissa Wikaire, one of Aroha's creators.
This episode of the te reo Māori anthology series follows a scandalous relationship between Siva (Pua Magasiva), a 19-year-old Samoan man, and Haka (radio DJ Ngawai Greenwood) a 45-year-old Māori poet. Unable to contain their passion, the couple's public lovemaking hits the headlines. Siva's family take matters into their own hands. This episode marked the first on-screen starring role for Magasiva, who would make his name as nurse Vinnie Kruse in Shortland Street. Director Paora Maxwell later spent three years as Chief Executive at Māori Television.
Once Were Warriors star Temuera Morrison plays another bully in this episode of te reo series Aroha. Morrison is arrogant mechanic Steam, who verbally abuses an overweight young employee nicknamed Meat Pie (Vince Ata). Steam also has the hots for Meat Pie's mother (Mere Boynton) — his cousin. The story follows the obese young man as he's manipulated by his mum, mocked by his workmates, and pushed around by strangers. One day Meat Pie snaps. The cast also includes Pio Terei (as a woman!), Mika (as a mechanic) and Tame Iti. Puhi Rangiaho (Waka Huia) directs.
Award-winning series Aroha was born from a desire to tell contemporary love stories in te reo. The six subtitled stories by Māori writers explored love from many angles. Aroha involved established names (Temuera Morrison, Rena Owen, Paora Maxwell), and emerging talents (writer Briar Grace-Smith, actor/director Tearapa Kahi). Filming began in mid 2001; in 2002 three episodes played at the Auckland International Film Festival. Aroha was the brainchild of Karen Sidney, Joanna Paul, and the late Melissa Wikaire. The series was made in tribute to late filmmaker Cherie O'Shea.
TV3's late night news show was devised in 1990 to provide a mix of credible news and entertainment. Once the serious news of the day was dispensed with, the brief was that the show could be a bit "off" with few rules - and the freedom to push boundaries. That's exactly what presenters like Belinda Todd, Bill Ralston, Dylan Taite and David Farrier proceeded to do in the show's often infamous "third break". Meanwhile, newsreaders including Joanna Paul, Janet Wilson, Leanne Malcolm and Carolyn Robinson did their best to keep a straight face. "Yo Nightliners!"
This documentary looks at the life and work of acclaimed author Patricia Grace. Filmed at home, on marae and in classrooms, Grace discusses her writing process, her Hongoeka Bay upbringing, her children’s books, criticism of her work, and her Māori identity and belonging to the land (a theme of her then-recently successful novel Potiki). In particular she affirms the importance of writing from experience. The film features interviews with publishers and friends, and excerpts from Grace's stories are read and dramatised, including At the River, The Hills and Mutuwhenua.
Independent channel TV3 launched its prime time bulletin on 27 November 1989. The flagship 6pm bulletin — originally called 3 National News — was anchored by ex state TV legend Philip Sherry, with Greg Clark handling sports. Sherry was replaced by Joanna Paul, then another ex TVNZ anchor, John Hawkesby. A 1998 revamp saw Carol Hirschfeld and John Campbell take on dual anchor roles. Their move to Campbell Live in 2005 opened the doors for a decade-long run by Hilary Barry and Mike McRoberts. In 2016 Mediaworks rebranded its news service — and the slot — as Newshub.
Independent television network TV3 launched its prime time news bulletin on 27 November 1989, a day after the channel first went to air. Veteran broadcaster Philip Sherry anchors a reporting team that includes future politician Tukoroirangi Morgan (probing kiwi poaching), Ian Wishart (investigating traffic cop-dodging speedsters) and future newsroom boss Mark Jennings (torture in Timaru). Belinda Todd handles the weather, and Janet McIntyre reports on TV3's launch. The Kiwi cricket team faces defeat in Perth (although history will record a famous escape there).
A teenage boy (Lance Wharewaka) should be at school, but instead learns about the bush and the old days from his ailing grand uncle (Bill Tawhai). The friendship prepares the boy with the necessary skills for life. Written by poet Hone Tuwhare, Eel marked the drama directing debut of TV3 newsreader and Wild South presenter Joanna Paul."He [Bill] brought a mana with him and has such irreplaceable Māori knowledge," said Paul, who remembered him discussing "how he used bobs to catch eels. He remembers using flax — you can't buy knowledge like that."
Frontline replaced Close Up as TVNZ’s flagship, primetime current affairs show in 1988. Fronted by Ross Stevens, and made at Avalon at a time when TVNZ management had relocated to Auckland, it produced the controversial 1990 doco For the Public Good which explored the relationship between business and the Labour Government. In the fallout, TVNZ was sued, staff were sacked and the office moved to Auckland. In 1994, a special about the Winebox tax allegations saw Frontline back in the news. Other presenters included Lindsay Perigo, Anita McNaught and Susan Wood.
When she made Mauri, Merata Mita became the first Māori woman to write and direct a dramatic feature. Mauri (meaning life force), is loosely set around a love triangle and explores cultural tensions, identity, and changing ways of life in a dwindling East Coast town. As with Barry Barclay film Ngāti, Mauri played a key role in the burgeoning Māori screen industry. The crew numbered 33 Māori and 20 Pākehā, including interns from Hawkes Bay wānanga. Kiwi art icon Ralph Hotere was production designer; the cast included Zac Wallace (star of Utu) and Māori activist Eva Rickard.
The award-winning Pioneer Women series was producer Pamela Meekings-Stewart’s response to her perception that histories on NZ television, like The Governor, hadn’t adequately recognised the role played by women in shaping the nation. The initial series of six episodes focussed on the lives of Nurse Maude, Ettie Rout, Hera Ngoungou, Princess Te Puea, Elizabeth Colsenso and Ellen Hewett; it celebrated women who not only had to face hardship and deprivation but were charged with raising the next generation. A second series of three episodes screened in 1990.
This episode of Pioneer Women dramatises the life of Waikato leader Te Puea Herangi: from prodigal daughter to leader of the Tainui people. Te Puea helped establish the Kingitanga movement, and led Tainui to prosperity through wars, confiscation of their land, and an influenza epidemic. Future TV3 newsreader Joanna Paul plays Te Puea. Produced by Pamela Meekings-Stewart, the Pioneer Women series screened in a high profile slot on TV One, and challenged the view that white male statesmen were the only noteworthy figures in New Zealand colonial history.
The powerhouse, largely Māori cast of this teleplay includes Jim Moriarty, Merata Mita, Billy T James (as a Marxist) and, in his acting debut, Zac Wallace (star of Utu). The Protesters explores issues involving race and land ownership in the aftermath of the Springbok Tour and Bastion Point. A group of Māori and Pākehā protestors occupy ancestral land that the government wants to sell. While waiting for the police to arrive, they debate whether to go quietly or respond with violence. Though some wounds are healed, The Protesters ends on a note of division, reflecting the era it was made in.
Pioneering soap opera Close To Home first screened in May 1975. For just over eight years, middle New Zealand found their mirror in the life and times of Wellington’s Hearte clan. At its peak in 1977, nearly one million viewers tuned in twice weekly to watch the series, which was co-created by Michael Noonan and Tony Isaac. They initially only agreed to make it on condition they got approval for The Governor. The popular family saga carved a regular niche for local drama on screen; the demands of creating a regular show helped develop the skills of Kiwi actors and crew.