This 'alternative' version of New Zealand history was made by the team behind Eating Media Lunch. Channelling Kenneth Cumberland —presenter of heavyweight 80s series Landmarks— Jeremy Wells plumbs the TV archives to poke fun at New Zealand, and its people. Some excruciating hilarity is mined from artifacts of visitation to southern shores, from Bill Clinton to the Beatles. Muhammad Ali's fast food tastes down under are examined; the Dalai Lama finds bad karma in Christchurch; Charles and Diana visit in 1981; and mirth is mined from all things ovine.
Jeremy Wells brings Kenneth Cumberland-seque authority to this 'alternative' version of Kiwi history, which was made by many of the team that worked on Eating Media Lunch. The Unauthorised History plumbs TV and history archives to poke fun at the pretence of the past (and present). This episode examines artefacts to do with sex and Aotearoa. With tongue planted in check (and in other places) Wells revisits everything from pole-dancing in the "hellhole of the Pacific" — colonial-era Russell — to randy Hutt Valley teenagers "getting laid" in the 1950s.
This documentary tells the tenuous survivor story of the kākāpō: the nocturnal flightless green parrot with "big sideburns and Victorian gentlemen's face" (as comedian Stephen Fry put it). A sole breeding population for the evolutionary oddity (the world's largest parrot; it can live up to 120 years) is marooned on remote Codfish Island. The award-winning film had rare access to the recovery programme and its dramatic challenges. This excerpt sees a rugged journey to the island to search for a kākāpō named 'Bill', and witnesses the "bizarre ballad" of its mating boom.
Savouring the chance to demonstrate that Kiwi cinema is about far more than the usual suspects found on so many top 10 lists, critic Tim Wong provides his own angle on the topic in this film, narrated by Luminaries author and occasional actor Eleanor Catton. Ranging widely — from experimental works, to an often forgotten contender for first Kiwi horror movie — Out of the Mist marked the first of three essay films aiming to “advocate for art on the margins”. Director Wong founded film and arts website The Lumière Reader in 2004.
Historian Michael King's opus was a bridge between Māori and Pākehā; he turned Aotearoa's history into an unprecedented publishing bestseller. History Man traces King's own past, to understand the man and his passion for his work. This doco was commissioned only weeks before King and his wife were tragically killed in a car accident. Nevertheless it is a detailed portrait of a much loved and missed New Zealander. It is another collaboration from this producer/director team, whose subjects include Michael Houstoun, Ian Mune and Barry Crump.
In Haka Māori myth is re-told through a series of stirring haka performances. Men stomp, invoke, and do pūkana (tongue out, eyes wide) amidst spitting mud and fire and ... in Paremoremo Prison and under a motorway. These scenes are intercut with archive imagery of post-pākehā Māori life, from first contact to Maori Battalion, urban drift and protest. The film is a tribute to the raw power, and art, of haka. Ultimately the Once Were Warriors-like message "is positive because of the fierce, irresistible pride of the performances." Peter Calder, (NZ Herald, 1989).
In this episode of the Journeys in National Parks series, presenter Peter Hayden looks at the primeval, remote wilderness of Fiordland National Park. We learn of how the god Tu-te-raki-whanoa crafted the fiords out of sheer cliffs with his adze, "so the sea might run in and there'd be quiet places for people to live". On boats and along the Milford Track, Hayden traces the "memory trails" of the few who have braved the area: Māori pounamu collectors, sealers, cray fishermen, early naturalists Georg and Johann Forster, and pioneering conservationist Richard Henry.
In this series celebrating New Zealand's national parks, Peter Hayden travels through some of Aotearoa's most awe-inspiring environments. This episode — looking at the unique spiritual relationship between the Tūhoe people, and the birds and bush of Te Urewera National Park — was directed by Barry Barclay (Ngati). Barclay used his fourth cinema philosophy of indigenous filmmaking, "to tell the contemporary story of the park through their [Tūhoe] eyes". The film attracted controversy for its then exceptional use of te reo. Catherine Bisley writes about the Journeys series here.
The first leg of Peter Hayden’s journey across latitude 45 south takes him across the Waitaki Plains and up to Danseys Pass. He visits the site of a moa butchery and the sunken circular umuti (cabbage tree ovens) of early Māori. Guided by colonial literature, he visits New Zealand’s tallest tree (a eucalypt, which he finds horizontal). Drought busting desperation of 1889 and the provenance of Corriedale sheep is also covered. In a riparian side trip, Hayden heads up the Maerewhenua River where gold miners succeeded only in ravaging the landscape.
Wildtrack was a highly successful nature series for children, running from 1981 through several series to the early 90s. In this episode the presenters check out “dung fungi” in cow pats and walking-on-water-insects (pond skaters) in the studio, and head outside to check out kea alpine parrots who are “too friendly for their own good” (threatened by smuggling and over eager tourists); the West Coast’s black sand beaches; Fiordland’s underwater world; and selective plant breeding that involves washing a bee.