Face Value - A Real Dog

Television, 1995 (Full Length Episode)

Written by Fiona Samuel (Marching Girls, Bliss, Home Movie) and produced by Ginette McDonald for television’s Montana Sunday Theatre, Face Value is a trilogy of monologues delivered by three separate women. While each woman’s story and background are vastly different, they are all united by their shared quest to find happiness amidst personal trauma. In A Real Dog, Carol Smith’s performance is spot-on as Lynette, a conflicted new-age hippie who struggles to recreate harmony when a new flatmate (and her estranged boyfriend) moves in.

In a Land of Plenty

Film, 2002 (Full Length)

The tagline runs: "The story of unemployment in New Zealand" and In A Land of Plenty is an exploration of just that; it takes as its starting point the consensus from The Depression onwards that Godzone economic policy should focus on achieving full employment, and explores how this was radically shifted by the 1984 Labour government. Director Alister Barry's perspective is clear, as he trains a humanist lens on ‘Rogernomics' to argue for the policy's negative effects on society, "as a new poverty-stricken underclass developed".

One Network News - Marc Hunter

Television, 1998 (Excerpts)

For this One Network News story from 16 July 1998, Jo Malcolm reports on ailing Dragon singer Marc Hunter. Suffering from throat cancer, Hunter had been in Korea and Italy seeking alternative treatment with money raised by a benefit concert. On returning to Australia he fell into a coma. The report features a montage of the band’s classic songs, earlier clips of Hunter reacting to the diagnosis and a poignant performance from Hunter at the March benefit concert. The legendary, larger than life frontman died the day after this report went to air. 

50 Years of New Zealand Television: 5 - Telling Stories

Television, 2010 (Full Length Episode)

From early teleplay The Evening Paper to the edgy Outrageous Fortune, this episode of 50 Years of New Zealand Television talks drama and comedy. Key players, from actors to executives, recall a host of signposts in the development of storytelling on Kiwi TV screens. John Clarke recalls 1970s sitcom Buck's House; Paul Maunder remembers the drama that likely helped introduce the DPB; and TV executive John McRae recalls worries about the projected cost of global hit Hunter's Gold, and mentioning the word 'placenta' on the first episode of Shortland Street.  

First Hand - Changing Minds

Television, 1992 (Full Length Episode)

Mental health care is profiled in this 1992 episode of First Hand. Wayne Hussey is a member of the South Auckland Community Treatment Team, who is followed over the course of a day seeing his patients. They vary from a young woman struggling with bipolar disorder, to a woman living with schizophrenia, and a man who has adapted to independent life in the community. Kingseat Psychiatric Hospital becomes the voluntary home of one patient. The hospital was closed in 1999, and parts of the complex were controversially used for haunted house attraction Spookers.

Votes for the Girls

Television, 1994 (Full Length)

This documentary was made to mark the centenary of New Zealand women winning the right to vote, on 19 September 1893. It traces the history of Aotearoa’s world-leading suffrage movement, and interviews contemporary women in politics. They chart how far things have come, and reflect on the enduring double standards that women still face. Interviewees include Helen Clark (then leader of the Labour Party), Jenny Shipley, Dame Cath Tizard, Wellington Mayor Fran Wilde and visiting President of Ireland, Mary Robinson, plus mothers and high school students. 

Gone up North for a While

Television, 1972 (Full Length)

After a young woman (Denise Maunder) falls pregnant, she decides to go against the tide of advice from her family and unsympathetic welfare authorities by keeping her baby. Misery and hardship ensues. Director Paul Maunder brought kitchen sink drama to NZ television with this controversial National Film Unit production. The story can claim to have effected social change, stirring up public debate about the DPB for single mothers. Keep an eye out for a young Paul Holmes as a wannabe lothario. Maunder writes about making it in this piece. Costa Botes writes about it here. 

Radio with Pictures - Dunedin 1982

Television, 1982 (Excerpts)

This 1982 Radio with Pictures report surveys the Dunedin music scene, and the bands who are starting to be grouped together under the label ‘the Dunedin Sound’. Critic Roy Colbert discusses the influence of punk pioneers The Enemy and Toy Love, and the benefits of being outside fashion. A roster of future Flying Nun notables are interviewed, including David Kilgour, Shayne Carter, and Jeff Batts (The Stones). Martin Phillipps is psychedelic, and Chris Knox dissects the new bands’ guitar-playing style (without using the word "jangly"!). And then there’s Mother Goose.

Frontseat - First Episode

Television, 2004 (Excerpts)

Gibson Group series Frontseat was the longest-running arts programme of its era. Hosted by actor Oliver Driver, the weekly series aimed a broad current affairs scope at the arts. The first excerpt asks the question "is there really an art boom, and if so, why aren't the artists benefiting?" Art dealer Peter McLeavey, late artist John Drawbridge and others offer their opinions. The second clip asks whether NZ really needs eight drama schools. Richard Finn, Miranda Harcourt and newcomer Richard Knowles (later a Shortland Street regular) are among those interviewed.

Weekly Review No. 346 - Rhythm and Movement

Short Film, 1948 (Full Length)

This short profiles the work of Gisa Taglicht. A pioneer of women's rhythmical gymnastics, Taglicht advocated the benefits of physical exercise for women. Risqué at the time for the women’s skimpy outfits, the Wellington-set film sees women escaping machine and washing line oppression via a YWCA hilltop session: limbs reaching and stretching towards a stark sky. The National Film Unit's post-war Weekly Reviews became less overtly patriotic, and some, like this Michael Forlong-directed one, were unabashedly experimental. The score was composed by Douglas Lilburn.