By the time she died in 1947 aged 78, expat Frances Hodgkins was recognised as a key figure in British art. Subtitled 'A Painter of Genius', this 1989 Kaleidoscope portrait mixes archival material with recreations of Hodgkins working in England in the 1940s, and being interviewed by Vogue. Her "gypsy" life ranges from a Dunedin upbringing, leaving New Zealand in 1901, to painting and teaching in Europe, and struggles with poverty and health. After embracing modernism in the 1920s, her art combined still life and landscape in original ways. TV veteran (and artist) Peter Coates directs.
In this documentary, artist Helen Pollock discusses her sculpture Falls the Shadow. Using clay from the Coromandel and the Passchendaele (Netherlands) battlefield, she created a grove of arms reaching up against a background of trees stripped bare by gunfire in World War I. The work was inspired by her father, a wartime signaller. Pollock discusses her installation and the effect of combat on New Zealand troops in the war (846 Kiwis died in two hours during the 1917 battle of Passchendaele). The work is now on permanent display at Passchendaele Memorial Museum.
This edition of the 60s magazine show is a portrait of Peter McIntyre. McIntyre was New Zealand’s official war artist, and his paintings became icons of the NZ war effort. This piece focuses on his later landscapes — then at the height of their popularity. Shots of McIntyre working in his studio and around Kākahi — where the “happy escapist” retreats from the hurly burly of Wellington — bolster the romantic image. He muses on ‘scenic decay’, trout fishing, the zen of the bush and pop art: “If they’re surrounded by cans of beans let them paint cans of beans!”.
This consolidating episode of the archive-based New Zealand history series finds World War II at an end, the return of Kiwi servicemen and the country in an optimistic mood. That's sealed by the 1950 British Empire Games where New Zealand is third on the medal table. But rising prices and low incomes lead to more militant unionism, culminating in the fractious waterfront workers dispute of 1951. At the same time there's a new flowering of the arts. The New Zealand Symphony Orchestra is established and a new generation of writers and artists take centre stage.
Died in the Wool was part of a TV anthology adapting the murder mysteries of Dame Ngaio Marsh. MP Flossie Rubrick has been found dead in a wool bale, and it's up to Inspector Roderick Alleyn (UK actor George Baker — Bond, Z Cars, I, Claudius) to unravel the secrets of a South Island sheep station. The tale of a cultured Englishman amidst World War II spies, Bach and seamy colonial crimes — like Marsh's books — found a global audience: it was the first NZ TV drama to screen in the US (on PBS). Includes a Cluedo-style sitting room inquest and a wool shed reveal.
Made for the Post Office, this 1971 National Film Unit documentary offers a potted history of New Zealand, using postage stamps as the frame. Director David Sims ranges from Māori rock drawings, to Tasman and Cook. Once Pākehā settlers arrive, the film offers a narrative of progress (aside from two world wars) leading to nationhood and industry. Archive photographs, paintings, Edwardian-era scenes and reenactments add to the subjects illustrated on the stamps. The stamps include New Zealand’s first: a full-face portrait of Queen Victoria by Alfred Edward Chalon.
Te Ao Māori meets 70s kung fu movies in this Māori TV series, as a modern guide travels back to pre-Pākehā times to introduce "the greatest warriors of the past". Kairākau uses modern filmmaking tools (including roving camerawork, and the kinetic style of action films like 300) to explore ancestral history and showcase Māori martial arts. This first episode tells of Tunohopu’s utu, after an ambush by a Tūwharetoa war party sees the capture of his son and brother. Kairākau was created by Rangi Rangitukunoa. Kapa haka expert Wetini Mitai-Ngātai choreographs the martial arts.
In this two-part Lookout documentary from 1983, critic Hamish Keith explores how New Zealanders have housed themselves over the 20th Century. This first part builds to 1935: it begins in Auckland War Memorial Museum, with Keith asking how Kiwis would represent themselves if they were curators in the future. He presents the state house as the paramount Kiwi icon, and examines the journey from Victorian slums and Queen Street sewers to villas, bungalows and suburbia; plus the impact on housing of cars, consumerism, influenza, war, depression, and new ideas in town planning.
This web series profiles nine Ngāi Tahu artists, all working in different mediums. Weavers Reihana Parata and Morehu Flutey-Henare, and carver Fayne Robinson use traditional designs and materials like flax, feathers, stone, pounamu and wood, while conceptual artist Nathan Pohio uses 'found' objects like old photographs, presenting them in different contexts so they speak to a new audience. From photographer Fiona Pardington's 'memento mori' imagery to painter Simon Kaan's serene landscapes, each artist draws inspiration from the land and its wairua (spirit).
This 1983 feature explores desire, death, and guilt in a World War II Japanese prisoner of war camp. From Japanese art cinema star Nagisa Oshima (director of the notorious In the Realm of the Senses), its leads were musicians David Bowie (as a defiant captive) and Ryuichi Sakamoto (a conflicted camp commander). The film was mainly shot in Auckland, and partly funded by Broadbank during the tax shelter 80s. Kiwi connections include ex-Broadbank employee Larry Parr as associate producer, first assistant director Lee Tamahori, and actor Alistair Browning as a PoW.