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.
This 1976 documentary examines India’s third Prime Minister, Indira Gandhi. Her father took office as Prime Minister in 1947, the day India became independent from Britain. Framed around an extended interview with Gandhi, reporter Dairne Shanahan explores India and Indira’s history, and her controversial ‘emergency’ governing of the democracy’s 600 million people. The documentary was directed by Barry Barclay and produced by John O’Shea for Television One, as a pilot for a series that was never made. In 1984 Gandhi was assassinated by two of her bodyguards.
This edition of the long-running National Film Unit magazine series goes from south to north, then loops the loop. In Christchurch the cathedral and its history are toured and a service for Queen Elizabeth II is shown. Then there’s international get-togethers: a “Jaycees” congress in Rotorua; then Massey, for a Grasslands Conference. At Milson Aerodrome legless British war-hero Douglas Bader is amongst the attendees at the world’s first International Agricultural Aviation Show, and top-dressers demonstrate their “need for speed” skills above a hill country farm.
'Azania' is an impassioned anti-apartheid song written for the Auckland reggae band by law student Ross France. Led by original Herbs vocalist Toni Fonoti, it helped to establish the band’s political credentials at a time when New Zealand was split by the 1981 Springbok Tour. Azania was the name given to a post-revolutionary South Africa by the Pan African Congress. There are name checks for black African leaders Steve Biko and Nelson Mandela; and the chant “Angola! Mozambique! Zimbabwe! Azania!” was quickly incorporated into anti-tour protest marches.
Merata Mita’s Patu! is a startling record of the mass civil disobedience that took place throughout New Zealand during the winter of 1981, in protest against a South African rugby tour. Testament to the courage and faith of both the marchers and a large team of filmmakers, the feature-length documentary is a landmark in Aotearoa's film history. It staunchly contradicts claims by author Gordon McLauchlan a couple of years earlier that New Zealanders were "a passionless people".
Some argue that if the 1981 Springbok rugby tour of New Zealand had been halted from the outset, the impact on the hearts and minds of South Africans would not have been as profound. This Leanne Pooley-directed film aims to show how events in Aotearoa (captured in Merata Mita's documentary Patu!) played out in South Africa; how the tour protests energized blacks, shamed the regime, and provoked democratic change. Says Archbishop Desmond Tutu: "You really can't even compute its value, it said the world has not forgotten us, we are not alone."
Once Were Warriors opened the eyes of cinemagoers around the globe to an unexamined aspect of modern New Zealand life. Director Lee Tamahori's hard-hitting depiction of domestic and gang violence amongst an urban Māori whānau was adapted from the best-selling Alan Duff novel. The film provided career-defining roles for Temuera Morrison and Rena Owen as Jake the Muss and Beth Heke. It remains NZ's most watched local release in terms of bums on seats. Among a trio of backgrounders, Riwia Brown writes about adapting Duff's book for the screen.
Globetrotting New Zealander Len Lye was a gifted innovator in many areas of the arts — film, painting, sculpture, photography, and writing. Inventing ways to make films without a camera, he became one of the pioneers of the genre later known as the music video. Later he moved to New York's Greenwich Village and became a leading figure in the kinetic art movements of the 1950s and 60s.
Andrew Hagen began composing for film while in band Schtung. Hagen and fellow bandmember Morton Wilson provided music for a quartet of Kiwi movies, including Kingpin and The Scarecrow, then moved to Hong Kong and set up studios in Asia. In 1992 Hagen headed to LA, establishing himself as an award-winning composer, sound designer and sound supervisor. In 2011 he launched a branch of Schtung back in Wellington.