In this documentary, writer and satirist Peter Hawes crosses the Bombay Hills border in his Morris van to record his take on mid 1980s Auckland. Pocked with as many puns as Auckland has volcanic craters, Hawes' profile is a sprawling, breezy look at New Zealand's largest city: from a Chase Corporation high rise to shearing sheep in Cornwall Park; from Eden Park to Bastion Point. Interviews (with politicians, sportspeople, gossip columnists, strip club fashion designers) are mixed with skits covering jogging, bridge building, shipwrecks, multiculturalism and sewers.
A graffiti artist (Ropata Matthews) gets sprung by the cops while tagging. But his younger brother ends up being the fall guy and at the receiving end of long arm of the law. The hero heads into the Tamaki night, and with spray can and marker signs his views on politics (including on one of the infamous Iwi/Kiwi billboards from the 2005 National Party campaign). Ultimately he’ll need more than words to repay his brother. Co-written with Savage, the film was the first dramatic short directed by actor Tearepa Kahi (Mt Zion). It was invited to play at the Berlin and Clermont-Ferrand Film Festivals.
Performance group The Front Lawn (Don McGlashan, Harry Sinclair, and later arrival Jennifer Ward-Lealand) stretched all of their prolific talents for their final, 24 minute short film. After he whistles a certain tune, Ben (McGlashan) finds that his partner Linda (Ward-Lealand) no longer seems to be conscious. Then things get stranger: Linda catches up with an old lover (Sinclair) and faces a life-changing dilemma, while her body — awol with a tennis player on Tamaki Drive — has other plans. The surreal romance was made for TVNZ. It won Best Short at the 1990 NZ Screen Awards.
In 2006 the two-year long Pasifika Styles exhibition launched at Cambridge University’s Museum of Archaeology and Anthropology. The show was ground-breaking for confronting the contentious origins of the museum's Pacific artefacts, by inviting 15 contemporary Māori and Pacific artists over to show works and "revitalise the taonga" already on display. Shown on Māori Television, this documentary follows two of the artists, George Nuku and Tracey Tawhiao, from K Road to the cloisters of Cambridge to collaborate with objects, curators, fellow artists and scholars.
In his matter-of-fact way, James Murray reflects on some of the horrors of the War in the Pacific. Joining the New Zealand Navy at 17, Murray found himself aboard an American destroyer, watching the first atomic bomb explode above Hiroshima. “We thought they’d blown up Japan,” he says. Earlier, aboard HMNZS Gambia, he’d watched Japanese kamikaze planes attempting to sink the aircraft carriers his ship was trying to protect. Later he was among the first to land on the Japanese mainland, helping take control of the Yokosuka Naval Base.
This second episode of the three-part series following British MP Austin Mitchell’s return to the country where he began his career in (as a broadcaster and author of 1972 book The Half Gallon Quarter Acre Pavlova Paradise) sees a focus on politics. The former Canterbury University political scientist gives a potted political history, from the roots of a conservative Kiwi political mien to the radical changes wrought by Lange’s 80s Labour government and the rise of women ‘on the hill’. Finally he considers tourism, Treaty settlements and the aspirations of Māori.
Postwar Māori, Pākehā and Pacific Island migrants made Ōtara the fastest growing area in New Zealand. But as local industries closed, it became a poster suburb for poverty and crime. This TV3 Inside New Zealand documentary sees eight successes from Ōtara telling their stories — from actor Rawiri Paretene and MP Tau Henare, to teachers and entrepreneurs. They reflect on mean streets, education, community and the Ōtara spirit. The first documentary from Ōtara-raised producer Rhonda Kite (who is also interviewed), it won Best Māori Programme at the 1999 NZ TV Awards.
This eighth episode in the Landmarks series was the first episode filmed, to test how geographer Kenneth Cumberland handled being in front of the camera. On a Cook Strait ferry in a southerly, he begins exploring how trade and people have gotten about Aotearoa: from the “Māori main trunk line” (beach, water), sailing ships, Cobb & Co and ‘Shanks's Pony’, to the railways and Bob Semple’s roadmaking bulldozers.The episode ends with the national grid and airways, with a rocky landing at Wellington airport demonstrating that the wrestle with place is an unresolved one.
Going with his father to see the battleship HMS Ramilles set Peter Couling on a course that led to the New Zealand Navy. Joining at 18, he soon found himself bound for Korea where his ship escorted convoys from Japan to Pusan. He was also on hand to see the battleship USS Missouri fire its guns in anger for the first time since World War II. That was in the early stages of the Incheon Landings. In this interview he also talks about going on parade in London for King George VI’s funeral. Back home he headed south with Sir Edmund Hillary and the Trans-Antarctic Expedition.
In 1885 the NZ Government used legislation to take ownership of sections of Bastion Point (Takaparawhau) for defence purposes. This ancestral Māori land belonging to Ngāti Whātua was never returned, and in 1976 Crown announced plans to sell off land for housing. Joe Hawke led a group of peaceful protesters which occupied the land for 507 days, until they were forcibly removed by 700+ police and soldiers. This documentary, which screened as part of the Perspective current affairs series, examines some of the issues behind the protest that polarised a nation.