This 1970 documentary surveys New Zealand’s dairy industry — “probably the most advanced in the world” — from pasture to export. Dairying then produced a quarter of NZ’s income, but with Britain due to join the EEC, NZ was forced to seek new markets. This film proclaims the industry’s readiness, thanks to an artificial breeding centre (with ‘calf-eteria’), room-sized computers, and cheeses designed for the Asian market. The country's 25,000 dairy farms were each owner-operated, and averaged 90 cows. The Dairy Industry won top prize at an agricultural film competition in Berlin.
This 1978 documentary casts a critical eye over a depressed NZ music industry, and asks what has changed since its 60s glory days of pop stars, screaming fans and C’mon. By the late 70s, few musicians are earning a living and chart hits have dwindled (although the recording industry is bullish). Ray Columbus waxes lyrical about ‘She’s a Mod’. Kevan Moore and Peter Sinclair are sanguine about TV’s role, a finger is pointed at radio airplay, and the careers of Craig Scott, Mark Williams, Sharon O’Neill and John Rowles are considered. The only thing not in short supply is blame.
Half-hour documentary Paper Boat uses off-screen interviews to follow the process of creating a book, from idea to book store. The chapters are built on interviews with an author; editor; designer; a printer and a binder; and finally a bookseller and a librarian — the latter talks about libraries as places of welcome and acceptance. The film's title was inspired by Gregory Kan's poetry collection This Paper Boat. Writer and ex librarian Alex Mitcalfe Wilson's debut film was one of three "advocating for art on the margins", which debuted on website The Lumière Reader.
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.
Rodney Fisher and Gareth Thomas from Auckland band Goodshirt preach a DIY message, in this episode from a series directed at secondary school music students. In the backyard of the house where they made their debut album, they perform stripped back versions of 'Slippy' (inspired by a Grey Lynn bus ride) and 'Blowing Dirt'. There's also a guided tour of the back shed where they built a recording studio with accessibly priced equipment that was good enough to produce a chart topping single in 'Sophie' — and stop them going into debt to a record company.
In April 1984 Billy Idol visited New Zealand to promote his second (and most successful) solo album Rebel Yell. Interviewed by Radio with Pictures legend Karyn Hay, he answers her call for a closing rebel yell, talks about the origins of his name and early hit 'White Wedding'; argues he appeals to the intelligence of his audience; criticises racism towards the United States, a country full of "ordinary people who struggle everyday"; and argues that confidence and "a pretty heavy attitude" are key to survival in a music industry that is more concerned with money than art.
Coverage of a major event in the history of the NZ music industry — the pressing of Ruru Karaitiana’s timeless classic ‘Blue Smoke’ — is the highlight of this NFU newsreel. It was the first recording of a local composition performed by local musicians to be manufactured in NZ (in a very exact and highly labour intensive exercise involving men in white coats). The country’s biggest airlift of sheep, sharp shooting army cadets, high flying painters redecorating a Wellington church and heavy machinery being moved across Auckland by barge also feature.
Wellington funk, soul, reggae act The Black Seeds manage to cram themselves into a single shot for this episode from a series made for secondary school music students. Bookended by stripped back performances of 'Keep on Pushing' and 'Going Back Home', they explain the development of these songs from their origins as bass grooves. Mike Fabulous has cautionary words for aspiring songwriters about the dangers of overcomplicated song structures while Barnaby Weir reassuringly suggests that virtuosity is not an absolute prerequisite for being in the band.
A decade before joining Gotye at the top spot of the American singles chart, future pop star Kimbra Lee Johnson was an effervescent 11-year-old, investigating the mechanics of making a hit recording. This is one of a series of segments she presented for TVNZ kids show What Now?. After meeting up with producers Rikki Morris and Stephen Small, she's ready to record her song 'Smile'. The venue is Morris' Devonport studio; the duo have an arrangement all set to go, so Kimbra can lay down her vocal.
Indie legend Chris Knox is featured in this episode from a series made for secondary school music students. He performs 'One Fell Swoop' — a love song he describes as an aberration amongst his more "nasty" numbers — and explains its composition while denying Whitney Houston comparisons. Knox is typically forthright in discussing his varied career as musician, cartoonist, TV presenter and "renaissance bloke". He outlines his philosophy of DIY self-sufficiency and extols the virtues of never compromising (so that even failure is "much more meaningful").