New Zealand's unique accent is often derided across the dutch for its vowel-mangling pronunciation ("sex fush'n'chups", anyone?) and being too fast-paced for tourists and Elton John to understand. In this documentary Jim Mora follows the evolution of New Zealand English, from the "colonial twang" to Billy T James. Linguist Elizabeth Gordon explains the infamous HRT (High Rising Terminal) at the end of sentences, and Mora interprets such phrases as "air gun" ("how are you going?"). Lynn of Tawa also features, in an accent face-off with Sam Neill and Judy Bailey.
The first series of Decades in Colour sourced home movies from over 800 New Zealanders, to look back at life from the 1950s to the 1970s. Presented by Judy Bailey, it screened on Prime. Mixing lost images and new interviews, three hour-long episodes each focussed on a different decade: from the post-war suburbia of the 50s, to rugby, racing and beer in the 60s, to emerging challenges to cultural norms in the 70s, as jet travel and TV broadened perspectives and a more independent national identity emerged. A second series debuted in October 2017, focussing on work, home and play.
Our People Our Century was a documentary series from Ninox productions, that looked back over the past 100 years of New Zealand society as it turned over the millennium. Major events and changes over the century were shaped into six themed episodes: war, land, poverty and prosperity, families, state support and national identity, with apposite interviews providing personal and dramatic context. Our People Our Century won Best Factual Series at the 2000 NZ TV Awards, with Philip Temple winning a best documentary script award for the 'Families at War' episode.
New Zealand Mirror was a National Film Unit 'magazine-film' series aimed at a British theatrical audience. Mostly re-packaging Weekly Review and later, Pictorial Parade content for receptive UK eyes, it also generated a small amount of original content. The series covered items showcasing NZ to a British market and as such has some interest as a post-war representation of New Zealand's burgeoning sense of national identity, from peg-legged Kiwis and children feeding eels, to the discovery of moa bones, to pianist Richard Farrell.
The first animated feature made and originated in New Zealand, 25 April tells the story of the country's involvement in an ill-fated mission to take a piece of Turkish coastline during World War I. 2700 Kiwis died and ‘ANZAC’ became a symbol of national identity. Director Leanne Pooley mines archive war diaries, and uses graphic novel style recreations from Flux Animation to evoke the the perspective of six participants. 25 April debuted at the 2015 Toronto Film Festival. Alongside the excerpt, a short making of video shows how facial motion capture fed into the film's distinctive look.
This four-part series explores New Zealand social history through rugby, from the first rugby club in 1870 to the 1995 World Cup. In this episode commentators muse on the roots of rugby in a settler society, in "a man's country". Rugby's unique connection with Māori, from Tom Ellison and the Natives’ tour to a Te Aute College haka, is explored; as well as the national identity-defining 1905 Originals’ tour, and the relationship between footy and the battlefield. As the Finlay Macdonald-penned narration reflects: “Maybe it's just a game, but it's the game of our lives”.
Sam Neill weaves portions of autobiography into an idiosyncratic, acclaimed yet controversial analysis of Kiwi cinema — from its crude beginnings, to the dark flowering of achievement seen in the breakthrough films of Peter Jackson, Lee Tamahori, and Jane Campion. Directed by Neill and Judy Rymer, as one of 18 films commissioned for the British Film Institute's Century of Cinema series, the award-winning documentary debuted at the 1995 Cannes Film Festival. The New York Times' Janet Maslin rated it a series highlight. The opening sequence looks at the role of the road in Kiwi film.
Māori Battalion - March To Victory tells the story of the New Zealand Army's (28th) Māori Battalion, which fought in campaigns during World War ll. Director and writer Tainui Stephens sets out in the feature-length documentary to tell the stories of five men who served with the unit, and also "capture how they felt about it". Narration by actor George Henare, remembrances, visits to historic sites, archival footage, and graphic stills create a respectful and stirring screen testament to the men who fought in the Battalion. Stephens writes about the film in the backgrounder.
This documentary is a view into the crucible that forged museum Te Papa, which opened on Wellington's waterfront in February 1998. Fascinating fly-on-the-wall moments are captured as a new kind of national museum is conceived. This excerpt features a board meeting where Saatchi & Saatchi present branding options. As political, ideological, creative and commercial considerations collide, the frustrations of decision making by committee are palpable: the body language, tears, cautions, grumbles, and finally, smiles, as they settle on the contentious thumbprint logo.
This edition in Prime’s television history series surveys Māori programming. Director Tainui Stephens pairs societal change (urbanisation, protest, cultural resurgence) with an increasing Māori presence in front of and behind the camera. Interviews with broadcasters are intercut with Māori screen content. The episode charts an evolution from Māori as exotic extras, via pioneering documentaries, drama and current affairs, to being an intrinsic part of Aotearoa’s screen landscape, with te reo used on national news, and Māori telling their own stories on Māori Television.