More than 100,000 New Zealanders served overseas in World War l. Over 18,000 died; at least 40,000 more were wounded. Campaigns involving Kiwis, from Gallipoli to the Western Front, were identity-forming, and the war's effects on society were deep. The World War l Collection is an evolving onscreen remembrance. Military expert Chris Pugsley writes about the collection here.
This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
A talkback radio operator (Lucy Sheehan) is forced to stand in for the regular host when he walks out because of a personal crisis. In between trying to answer calls, organize a replacement and discuss odd topics with a succession of callers, the flustered operator makes a surprising connection with another lost soul. Auckland's urban soul is captured with distinctive assurance in this neglected 48-minute drama from director Alison Maclean — who wrote the script with Geoff Chapple.
This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.
SJD (aka Sean James Donnelly), winner of the 2013 Taite Music Prize, talks samples, lyrics and home studios in this series made for secondary school music students. Donnelly demonstrates his fondness for old synthesisers (he admits liking their crankiness, and the way they make their most interesting sounds as they start to fall apart). Talking a couple of years after the release of second album Lost Soul Music, he traces the origins of Lost Soul single ‘A Boy’, and its music video — which features his son, and was animated and co-directed by his brother Kieran.
Arriving in the first decade of Kiwi hip hop, this track edged into the top 20 of the Kiwi singles chart. The performance-based video was shot on the streets of South Auckland, in a mix of both black and white and colour. Lost Souls was made up of two Samoans, a Niuean, a Tongan and a Cook Islander. Two years after recording this tale of post-migration PI life in Aotearoa, Lost Tribe rapper Brotha D (Danny Leaosavai'i) co-founded legendary hip hop label Dawn Raid, with Andy Murnane.
Musical shapeshifter SJD (short for Sean James Donnelly) released second album Lost Soul Music in 2001, early in a career that has seen him blending synthesisers, backwards voices, and a love of melody — all while working to ensure that each new album heads somewhere different from the last. His vocal on single 'A Boy' shows echoes of Beck, an artist some have cited as an influence. Co-directed by his brother Kieran and Dominic Taylor, the music video mixes lively, childlike animation with shimmering images of an unusual room and the boy inside...whose head is often a blur.
“This song is called ‘Medicine Man’ because music is my medicine, and failing all else in life, music remains the constant no matter who else is there.” So said Tama Waipara of the first single from his third album Fill Up the Silence, which was rated Best Roots Album at the 2014 NZ Music Awards. The song’s beat is credited to a Papua New Guinean influence, but Jessica Sanderson’s video roams widely: from Pasifika and colonial drummers to carpark breakdancing and getting lost inside headphones in a laundromat, from poi to pop and lock — to where “love is in the music”.
Though Michael Heath helped create a run of pioneering examples of the Kiwi cinema of unease, his contributions to our culture defy easy categorisation. His scripts include many films which have made a comfortable home between genres: children’s vampire tale Moonrise/Grampire, nostalgic Ronald Hugh Morrieson chiller The Scarecrow, Heath’s work with director Tony Williams, and his acclaimed song-cycle A Small Life.
Finola Dwyer, ONZM, began as an editor. After cutting Country Calendar and movie Trial Run, she was encouraged by Larry Parr to become a producer. Three films and a number of TV programmes later, Dwyer began her producing career anew in London in the early 90s. Her work in England stretches from acclaimed Beatles feature Backbeat to Oscar-nominated dramas An Education and Brooklyn.