This Touchdown reality series puts a Kiwi family in the shoes of a family of 1852 English immigrants to Canterbury. The challenge for the Huttons is to see if they have the 'pioneer spirit' and can live with colonial clothing, housing and food for 10 weeks. From a gentler, non-competitive era of reality TV, this first episode sees the Owaka family of six (including baby Neil) experience six days of life on a settler ship – seasickness, food rations, restrictive clothing and bedding and chamber pots – while relaying their personal reflections to the camera.
This turn of the century comedy series follows the daily life of fictional colonial Māori chief Te Tutu (Pio Terei). In the first episode, 'Welcome', it’s 1838 and Te Tutu meets a shipload of newly-arrived New Zealand Company settlers. Ngāti Pati elders debate whether or not to eat them. Tama (Dalvanius) wants to, but Te Tutu pushes for the vegetarian option by outlining the threat of Pākehā diseases to Māori private parts. The boys can’t decide but when Tama’s wife arrives everything is ka pai, and the kōrero turns to real estate. The script is by series creator Ray Lillis.
Illustrious Energy sees Chan and his older mate Kim prospecting for gold in 1890s Otago. Marooned until they can pay off their debts and return to China; they’ve been fruitlessly working their claim for 12 and 27 years respectively. Chan faces racism, isolation, extreme weather, threatening surveyors, opium dens and a circus romance. The renowned feature-directing debut of cinematographer Leon Narbey provides a poetic evocation of the Chinese settler experience; especially vivid are Central’s natural details — desolate schist and tussock lands, rasping crickets.
Pictorial Parade was a newsreel series made by the National Film Unit. The trio of items in this 1956 entry starts with 'Salute to Sālote,' in which the Queen of Tonga admires the territorial army recruits at Papakura military camp. In 'What is Dutch for Easter?', Dutch settlers hide painted Easter Eggs for the children of Roseneath school in Wellington. Finally 'The Life of Opo' shows priceless footage of Opononi's world-famous dolphin Opo, and her Marlborough Sounds cousin Pelorus Jack. Shots of 'gay' Opo tossing bottles and frolicking with swimmers are set to a jaunty ditty.
This high-rating 1999 documentary follows Gary McCormick to Ireland to investigate "those strands which tie" Kiwis to the Emerald Isle, from Dublin to the north, where his forebears originated in the 1870s. He meets locals, (musicians, tinkers, playwrights, scuba divers) and Kiwi expats, and talks The Troubles, Celtic Tigers, and why Irish emigrated to Aotearoa. Irish Connection was another collaboration between McCormick and director Bruce Morrison (Heartland, Raglan by the Sea). Companion title The London Connection saw McCormick examining Kiwi links to London.
Subtitled ‘a conversation with my grandfather’, this animated short sees Joel Kefali (director of the music video for Lorde’s ‘Royal’) documenting memories of his Turkish 'Baba' arriving in 1951 Auckland. Sausage rolls, dances and the death penalty are animated via cut-out shapes, and scored to Baba’s colourful pidgin phrasing — “go to the hell!”. Noel Murray of US website The Dissolve praised the “ample artistry” of Kefali’s familial tribute. Baba was a part of Loading Docs: a series of low budget three-minute long films made for online release.
Before he was a British MP Austin Mitchell spent time downunder, where he was a well known NZBC broadcaster in the 60s and published bestselling book The Half Gallon Quarter Acre Pavlova Paradise, a satirical commentary on all things Kiwi. In the first part of this three part series, he returns south to clock the changes. He begins at Otago University, where he lectured in the 60s, and notes a new Pākehā view of their history. Mitchell then talks wine with actor Sam Neill in Central Otago, and en route to Christchurch meets some uniquely 'mainland' entrepreneurs.
This episode of the six-part Our People, Our Century series explores the mix of cultures that Aotearoa-New Zealand has become. In these excerpts, a Chinese Kiwi family speaks of the racism they experienced, from the poll tax of the 1890s to their relative isolation — despite living in downtown Wellington. Artist Trevor Moffitt describes his father's “heavy silent disapproval” at his artwork; Moffitt went on receive acclaim for paintings that explore themes of New Zealand identity. Finally, mixed marriages between Māori and Pākehā shed some light on biculturalism.
Nominated for a Qantas Media Award, this documentary examines prejudices against Asians in New Zealand, amidst the context of burgeoning immigration (80,000 ethnic Chinese and 20,000 Koreans have arrived in NZ since 1988). Directors John Bates and Manying Ip look back at the history of Asian settlement in Aotearoa, from colonial xenophobia and the poll tax inflicted only on Chinese migrants, through ‘ching chong Chinaman’ abuse, to the present day — where 21st century migrants face struggles with discrimination, language barriers and integrating in their new home.
This National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.