A flagbearer for Māori storytelling on primetime television, E Tipu e Rea (Grow up tender young shoot) was a series of 30 minute dramas touching on a range of Māori experiences of the Pākehā world — from rural horse-back riding and eeling, to urban hostility and cultural estrangement. It marked the first anthology of Māori television plays, and the first TV production to use predominantly Māori personnel. E Tipu e Rea's mandate and achievement was to tell Māori stories in a Māori way.
This three-part documentary series was made to mark International Women's Year in 1975; it provides rare and precious interview footage with three of New Zealand's most celebrated writers; Sylvia-Ashton Warner, Janet Frame and Dame Ngaio Marsh; who each reflect on their life and philosophy. In the case of Ashton-Warner and Marsh, these documentaries were filmed in the last decade of their lives. Three New Zealanders was produced by John Barnett for Endeavour Films.
Tala Pasifika was a Pasifika drama series which grew from workshops aimed at upskilling Pasifika screen talents. The first six teleplays debuted on TV One in 1996 as part of magazine show Tagata Pasifika. Two more screened in their own slots in 1999. Instigated by Stephen Stehlin and Pomau Papali'i, Tala Pasifika was the first drama series to showcase Samoan culture. Don Selwyn and Ruth Kaupua were brought on to produce. Among those supporting the workshops or the resulting series were NZ On Air, the NZ Film Commission, Creative NZ and Justine Simei-Barton's Pacific Theatre.
In this satire series presenter Jeremy Wells — channelling Kenneth B Cumberland (of Landmarks fame) — examines NZ history in a mock-revisionist manner, poking fun at the pretence of the past. From the makers of Eating Media Lunch, the show is self-described as “the most important series in the history of history”. Each episode tackles the big issues, including ‘Crime’, ‘Visitors’, ‘Trouble’ and ‘Evil’. The show draws its material mostly from television archive basements, with the odd piece of fakery and animation thrown in. Michael King this defiantly ain't!
This documentary series was presented by the legendary Selwyn Toogood. These New Zealanders was one of Toogood's first appearances for television, having previously become a household name as a radio host. The National Film Unit production was part-documentary, part-magazine, and part-travelogue, and took Toogood to six towns to capture their character and people. The towns visited were Gore, Benmore, Motueka, Huntly, Gisborne and Taupō. It provides a fascinating perspective of New Zealand life in the 1960s.
New Zealand Mirror was a National Film Unit 'magazine-film' series aimed at a British theatrical audience. Mostly re-packaging Weekly Review and later, Pictorial Parade content for receptive UK eyes, it also generated a small amount of original content. The series covered items showcasing NZ to a British market and as such has some interest as a post-war representation of New Zealand's burgeoning sense of national identity, from peg-legged Kiwis and children feeding eels, to the discovery of moa bones, to pianist Richard Farrell.
The Governor was a television epic that examined the life of Governor George Grey in six thematic parts. Grey's "Good Governor" persona was undercut with laudanum, lechery and land confiscation. NZ TV's first (and only) historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. Auckland Star reviewer Barry Shaw trumpeted: "It has made Māori matter. If Pākehā now have a better understanding of the Māori point of view [...] it stems from The Governor.
The Years Back was a 13-part documentary series made for television by the National Film Unit and first broadcast in 1973. Covering six decades from 1900 to 1960, it was promoted as "people and events that shaped the New Zealand of today", and content was largely influenced by what historic film had survived. Presented by Bernard Kearns, fascinating footage (including the 1931 Napier Earthquake and Jack Lovelock’s 1936 Olympic triumph) is accompanied by interviewees recalling or commenting on past events, big and small, as they unfold on the screen.
The National Film Unit was set up in 1941 to publicise New Zealand’s war effort. The unit’s output soon evolved into the Weekly Review, a weekly reel screened in cinemas. Confusingly the first Weekly Review in October 1942 was named No. 60. It was the principal NZ film series produced in the 1940s. The series ended in August 1950 with the 459th issue. The reviews were a mix of newsreel and general interest stories and occasionally, full-reel documentaries. Some were later re-issued (without the Weekly Review title) for screening in educational and overseas markets.
This mid '70s ad campaign, made by the National Film Unit for the Tourist and Publicity Department, was aimed at the domestic market and offers nostalgic delights aplenty. 'Nightlife' focused on city bars and clubs, and 'Oldies' showcased options for retirees (scenic bus tours). Another version urged families to ditch the car (amidst the oil crisis) and take public transport to see the country; and in a classic of the genre pop star Craig Scott was a beach pied piper for adoring young Kiwis: "We're in God's own country, we gotta take the tiiiime ...".