Producer Veronica McCarthy co-founded Christchurch-based production company Raconteur in 1996. Her work at Raconteur includes documentaries (Between the Lines - Denis Glover) and children's series (The Big Chair), while also focusing on development across all screen genres.
Animation Station is a fantastic concept as it encourages children's creativity and gives them an opportunity for their hard work to be presented on television. Jo Tyndall
Christchurch company Paua Productions has extensively chronicled the effects of the series of earthquakes that decimated large tracts of their city in 2010/11 (and claimed the lives of colleagues in the CTV building). This series of five stand-alone documentaries examines aspects of the city’s past, present and future in the light of the quakes. Individual episodes focus on the significance of heritage, the social impact, the science of seismicity, the business and financial repercussions, and the scope and challenges of such an ambitious rebuild.
The first instalment of this two part documentary chronicles the effects of Christchurch’s September 2010 earthquake on a variety of everyday people. They have seen damage to their city they would never have imagined, houses have been destroyed, liquefaction has entered their vocabulary and the ground beneath their feet can no longer be trusted. Miraculously, there has been no loss of life. As seismologists seek to understand what happened, the interviewees tentatively rebuild disrupted lives, but the fatal quakes of 22 February cruelly derail that recovery.
The second half of this documentary following the effects of the Christchurch earthquakes revisits its subjects in the days after the catastrophic events of 22 February. Devastation is now widespread, the death toll is growing and aftershocks number in the hundreds. Over the next eight months, seriously injured bodies mend but, while there are moments of hope, lives are on hold and nerves are being stretched to breaking point by the constantly moving ground, recurring liquefaction and uncertainty about whether precious homes can, or should, be rebuilt.
When TV began in New Zealand in 1960, posh English accents on screen were de rigueur. As veteran broadcaster Judy Callingham recalls in this sixth episode of Kiwi TV history: "every trace of a New Zealand vowel was knocked out of you." But as ties to Mother England weakened, Kiwis began to feel proud of their identity and culture. John Clarke invented farming comedy legend Fred Dagg, while Karyn Hay showed a Kiwi accent could be cool on Radio with Pictures. Sam Neill and director Geoff Murphy add their thoughts on the changing ways that Kiwis saw themselves.
This award-winning lifestyle series took Wellington chefs Al Brown and Steve Logan out of their fine dining restaurant kitchen, and off on a mission to put the local in 'locally sourced' kai. In this episode it's wild food on a wild river — whitebaiting on the Mokihinui. Brownie gets a primo 'stand' and coaster advice; and Steve gets some Green Fern lager and meets a Department of Conservation ranger who tells the whitebait's perilous life story and nets a grown-up: a kokopu. Then it's riverside fritters with beurre blanc sauce and asparagus, washed down with a glass of pinot gris.
This award-winning series took Wellington chefs Al Brown and Steve Logan out of their fine-dining restaurant, to experience the local in 'locally sourced' kai. In this second episode, Al and Steve head to Tangahoe up the Whanganui River, looking for wild pig with a couple of good keen men — Baldy and Moon. Logan is with the dogs on the boar hunt; while Al's on veggies at the markets, before hitching a flying fox to sample some freshly baked organic kumara bread en route up river. The bush tucker result? Cider braised pork belly with kumara and corn mash.
Painter Grahame Sydney has been pigeonholed by some as a landscape artist, but this doumentary contends that his evocative depictions of his Central Otago surroundings are much more than just exercises in realism. Fellow locals, poet Brian Turner and actor Sam Neill discuss the emotional and artistic resonance his work holds for them. Sydney's portraits and figure studies are also examined. The production of one of his lithographs is followed from inception — as a sketch on a slab of Bavarian limestone brought to NZ over 200 years ago — to fully fledged print.
Denis Glover's poems are some of the most enduring in our literary tradition. "And Quardle oodle ardle wardle doodle" from The Magpies is probably New Zealand poetry's best known line. Glover (1912-1980) also established the first independent literary press (The Caxton Press). This documentary, directed by Bill de Friez, takes a candid look at the poet and reveals a larger than life figure ("a great drinker, a great womaniser, a great poet") connected to all the literary personalities of his day.
A profile of New Zealand artist Julia Morison, made in the year she became an Arts Laureate. Morison is filmed in her studio “forming order from the chaos of her materials”. She explains how her tools and materials guide her image making – which in her thirty-year career, has ranged across a variety of media. The film also features her lesser known work – her collaborations with fellow artist Heather Straka, which include a series of short films, and a project entitled Madame and the Bastard.
This documentary looks at Christchurch-based experimental theatre company The Clinic. Since 1999 the group has been making concept-driven works - "idea[s] stemming from a dream, a conversation, or even a costume". Often characterised by global multimedia collaborations performances might take place in abandoned buildings, nightclubs or online. This excerpt explores the genesis of the company and their free-flowing ethos. It features The Peculiar Case of Clara Parsons and a show in development at Christchurch Cathedral that includes writer Jo Randerson.
Made in New Zealand is a documentary about acclaimed New Zealand children and young adults writer Margaret Mahy. The film takes a line from her award-winning story The Changeover — "...made in New Zealand, it said, Wisdom Laboratories, Paraparaumu" — and uses it to talk about the importance of New Zealand settings in Mahy's work, her international successes, and her life as a writer. Mahy is filmed at her home in Governors Bay, speaking to children in her famous rainbow wig, and out and about on Akaroa Peninsula.