Scenic vistas of Aotearoa have become an important part of New Zealand identity. Hand-coloured photos produced by Whites Aviation from 1945 were formative in the genre, and hugely popular after WWll. This 2016 Loading Doc profiles 'colouring girl' Grace Rawson, now 83, who uses cotton wool and brushes to demonstrate the meticulous process behind colouring the images. The short was co-directed by artist and commercials director Greg Wood, and author Peter Alsop (Selling the Dream), whose book on the photos, Hand-Coloured New Zealand, was published in 2016.
This was the 24th edition of New Zealand Mirror, a 1950s National Film Unit series promoting New Zealand to British audiences. The first clip, about rugby's Ranfurly Shield, was deemed “too topical” by the UK distributor, and cut from later editions. The clip in question captures the colour of the national obsession (knuckle bones, livestock parades) at Athletic Park, where Taranaki challenge shield holders Wellington. It was later seen in Kiwi theatres as a short, playing with 1982 rugby tale Carry Me Back. The latter segments show Kaiapoi ploughing, and Wairakei thermal energy.
In the pop-plastic milk-bar universe of Bubblegum Valley, true love is on the rocks. Blue pulls up to the Paperdoll Diner in his mint cadillac. Inside, Candy hears gossip that Blue has been untrue. Will Blue's musical extravaganza fantasy reunite him with his true love? Will his gel hold his quiff up for the length of the film? This is an excerpt from Kezia Barnett's confectionary tale of marching girls and rock'n'roll dreams on rollerskates. It was the first funded short shot by cinematographer Ginny Loane; and was scored by indie duo The Brunettes.
In 1951, New Zealand temporarily became a police state. Civil liberties were curtailed, freedom of speech denied, and people could be imprisoned for providing food to those involved. This award-winning documentary tells the story of the 1951 lockout of waterside workers, and what followed: an extended nationwide strike, confrontation and censorship. There are interviews with many involved, from workers to journalists and police. At the 2002 NZ Television Awards, 1951 won awards for Best Documentary and Documentary Director (John Bates). Costa Botes backgrounds 1951 here.
This TV documentary sees director Peter Wells look at his life “through pansy-tinted glasses”. Motivated by the anniversary of his brother’s 1989 death (from AIDS) Wells’ film charts his path to becoming a pioneering gay filmmaker and writer: from growing up fascinated by colour and the glamour of royalty in conservative Port Chevalier in the 1950s, to baking, and deciding to come out when he was drafted to fight in Vietnam. As befits an artist whose credits include Desperate Remedies, the treatment is distinctive: a mixture of documentary, (aptly) flowery home movie, and quiet reflection.
This NFU newsreel begins with a potted history of Korea, from the founding of the “land of the morning calm” to the devastation wrought from the 1950 invasion of South Korea by communist North Korea. The Asian country was of interest to New Zealanders as Kiwi troops (‘Kayforce’) were stationed there, helping defend the south under United Nations command. Kiwi soldiers are shown playing footy, and on leave in Tokyo, before the gunners see action supporting an infantry advance across the 38th Parallel, and a NZ Navy frigate takes on a shore battery.
In colonial times drowning was so rife it was known as 'the New Zealand death'. This jaunty 1951 educational film is an effort to rid our lakes, rivers and seas of the unfortunate tag through cunning reverse psychology, as swimmers, fishermen and skylarking lads learn "how to drown". It eschews the confrontational realism of many a later PSA for the light-hearted approach: mixing lessons on water safety with silent film-style tomfoolery, gallows humour and the odd bit of sexual innuendo. Features footage of surf lifesavers using the now-archaic rope and reel.
A Friendly Career (or The Story of the Training and Life of the New Zealand School Dental Nurse) was a promotional film made by the National Film Unit for the Department of Health. The plot waltzes through the idyll of one doe-eyed careerist's sugar-coated journey to a respectable job in the 'murder house', caring for the teeth of the Dominion's children. Focusing on the hard work and 50s fun times of hostel life, with its friendships, matrons, tooth-pulling and en masse doing-of-the-hokey pokey, the end of this careerist road is pitched as one of great satisfaction.
This short National Film Unit documentary travels to Westland to meet the kōtuku or white heron. In Aotearoa, the kōtuku is known for its beauty and scarcity (the bird’s only NZ breeding colony is near Okarito Lagoon). The black and white film joins the ranger to go whitebaiting, as kōtuku arrive in spring. Kōtuku’s special place in Māori mythology is recounted, and legendary ornithologist Robert Falla checks out chicks in a crowded ponga fern nest. Directed by John Feeney, the film premiered in Christchurch in front of Queen Elizabeth, on her Coronation Tour.
Broken Barrier marked the first New Zealand dramatic feature to be made since 1940. Its production saw directors John O'Shea and Roger Mirams crowding into a Vauxhall with two silent cameras, one picked up "from a dead German in the Western Desert". Ditching dialogue for 'spoken thoughts', the pioneering film examines cultural complications in a romance between a Pākehā journalist (Terence Bayler) and a Māori nurse (Kay Ngarimu, aka Keita Whakato Walker). According to O'Shea, some viewers considered it "a dirty movie" for spurring mixed race relationships.