In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
This 2014 series looks at the role of architects on Kiwi building projects, as they respond to the challenges of budget, environment, site and client expectations. In this last episode of the series, host Peter Elliott asks if "architectural design can be financially achievable". He meets company Herbst Architects, and talks space, emotion and design for a steep Waiheke Island section, and a modular bach. Two fathers share the build of a John Irving-designed beach house; and a Point Chevalier house designed by A Studio aims for zero energy. Plus Elliott recaps the series' grand designs.
Recut from material shot at least five years before, this National Film Unit short appears to have been driven by the Tourist and Publicity Department. Coming in for praise are New Zealand’s primary exports (farm products), road and railways, and social security. In the 50s long distance air links were opening NZ up to the world but international tourism was not a major industry, and NZ was focused firmly on agriculture. People are shown farming, “a little unsmiling” on city streets, and at play (fishing, sailing and skiing). Kids drink milk and Māori are assimilating.
This 1999 documentary see presenter Gary McCormick exploring the lives of New Zealand expats living in London. London Kiwis – including MTV Europe head Brent Hansen, Angel at My Table actor Kerry Fox, chef Peter Gordon, house-boaters Karyn Hay and Andrew Fagan, and drunk backpackers at The Church – reflect on their overseas experience and the meaning of home. Produced alongside a companion documentary on Kiwis in Ireland, London Connection was a further collaboration between McCormick, director Bruce Morrison and producer William Grieve (Heartland).
Four-part series Standing in the Sunshine charted the journey of Kiwi women over a century from September 1893, when New Zealand became the first country to grant women the right to vote in parliamentary elections. This third episode, directed by Melanie Rodriga, looks at women over a century of work — plus education, equal pay, family, art, and Māori life. Interviews are mixed with archive material – including a mid-80s 'girls can do anything' promotion – and reenactments of quotes by Kiwi feminist pioneers. Writer Sandra Coney also authored a tie-in book for the series.
Open Home was a 90s series looking at New Zealand homes and the people making, designing and living in them. This episode from the third season ranges from deconstructionism to DIY. Builder (and future Dunedin mayor) David Cull checks out a Northland glasshouse designed by Nigel Cook, before visiting the renovated Australian farmhouse and digital recording studio of Dragon band member Todd Hunter. Susan Wood tries translating the architectural theory of deconstructionism with the help of Auckland architects, including Mark Wigley.
This 1983 Hamish Keith-presented documentary is subtitled 'Housing New Zealand in the Twentieth Century'. Part two picks up from Michael Joseph Savage’s 1930s state housing scheme. Keith argues that as the emphasis shifted from renting to owning, middle class suburbia became the foundation of Kiwi postwar aspirations. He looks at changing demographics in the cities — as home owners fled on newly built motorways — and argues that the suburban ideal has become bland and out of reach, as New Zealand once again becomes a country of “mean streets and mansions”.
This post-war film was made to showcase New Zealand to UK audiences. Directed by Michael Forlong, the NFU film is a booster’s catalogue of contemporary NZ life. The message is that NZ is a modern pastoral paradise: open for business but welfare aware. Nature is conquered via egalitarian effort; air and sea links overcome the tyranny of distance; and science informs primary industry. Māori are depicted assimilating into the Pākehā world. Sport, suburbia and scenic wonder are touted, and an NZSO performance shows that the soil can grow culture as well as clover.
In 2012 a number of state houses were relocated from Glen Innes in Auckland to Kaitaia, making way for property developers. A Place to Call Home follows two women at odds with each other, both railing for positive change. Betty Kanuta is an evicted tenant, leading protests against the destruction of her community. Fleur Palmer is purchasing some of the state houses to build a Māori housing development, to help poor families in Kaitaia. Director Briar March's documentary debuted on Māori Television in 2014 as Whare Tapa Whā, before being expanded into a feature-length cut.
Early standard bearers for the Flying Nun label, The Clean ended their first incarnation with this abrasive, rollicking, darkly-humoured take on the aging process (featuring backing vocals from Chris Knox and some Robert Scott trumpet). Ronnie van Hout, who designed much of the label's early artwork, turned his hand at directing for this clip. Without a budget, he utilised the Christchurch service lanes and aging inner city buildings which housed so many of the local music industry's bars, clubs and rehearsal rooms (and a succession of early Flying Nun offices).