Shirley Horrocks' documentary profiles the life, work and influence of pioneering PI writer Albert Wendt (1973's Sons for the Return Home was the first novel published in English by a Samoan). The film accompanies the writer to various locations in the Pacific and addresses his Samoa upbringing, his education in New Zealand and his work as writer and teacher; and discusses the contemporary explosion of Pacific arts. "I belong to Oceania — or, at least, I am rooted in a fertile part of it and it nourishes my spirit, helps to define me, and feeds my imagination."
Nominated for a Qantas Media Award, this documentary examines prejudices against Asians in New Zealand, as immigration grows (80,000 ethnic Chinese and 20,000 Koreans have arrived in New Zealand since 1988). Directors John Bates and Manying Ip look back at the history of Asian settlement in Aotearoa: from colonial xenophobia and a poll tax inflicted only on Chinese migrants, through "ching chong Chinaman" abuse, to the present day — where 21st century migrants face struggles with discrimination, language barriers and integrating in their new home.
This 2002 documentary explores contemporary Aotearoa from the perspective of Kiwis from a range of different (non-Māori, non-Pākehā) ethnic backgrounds. These citizens speak frankly about their experience of assimilation and stereotyping in a supposedly multicultural society, where ethnic food is beloved — but not ethnic difference — and where jokes and racism blur. Directed by Libby Hakaraia, the documentary screened on TV3 as part of doco slot Inside New Zealand. It was a follow up to 2000's The Truth about Māori, which looked at identity from a Māori perspective.
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.
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 National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.
Icon in B Minor: a musical odyssey is the tale of two creative souls from different centuries with the same belief in spiritual transformation through their art. World-renowned New Zealand concert pianist Michael Houstoun is filmed on his pilgrimage to Germany, where composer Franz Liszt spent his last years. Houstoun is preparing for his performance of Liszt's monumental work, Sonata in B Minor. Produced and directed by Tainui Stephens, Icon in B Minor screened as part of the Work of Art series.