The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.

The decade of fondue and flares also cooked up colour television. Our black and white living room icons — from Selwyn Toogood to Space Waltz — melted into a Kiwi kaleidoscope of Top Town, Grunt Machine, and Close to Home. And 'our stories' and rights fights — boks, hikoi, nukes and 'nam — echoed onscreen (Sleeping Dogs, Tangata Whenua). Ready to roll?

Packed with creatures and landscapes that quite simply boggle the mind, the Nature Collection showcases New Zealand's impressive menagerie of nature and wildlife films. Many of the titles were made by powerhouse company NHNZ, which began around 1977 as the Natural History Unit, a small, southern outpost of state television. In this backgrounder, Peter Hayden — who had a hand in more than a few of these classic films — guides viewers through just what the Nature Collection has to offer.

Māori Television hit the airwaves on 28 March 2004. This collection demonstrates how the network has staked its place as Aotearoa's indigenous broadcaster. The kete is overflowing with tasty morsels — from comedy, waiata, hunting and language learning, to award-winning coverage of Anzac Day. Māori Television HOD of Content Development Nevak Rogers backgrounds some MTS highlights here, while Tainui Stephens unravels the history of Māori on television here: choose from te reo and English versions of each backgrounder. 

In this excerpt from Marae, Elle Hughes interviews John O'Shea about producing groundbreaking documentary series Tangata Whenua. Prior to its 1974 screening in primetime — significant, in a time of single channel TV — Māori "lacked a voice" on the Pākehā medium of television. O'Shea says the aim was "a better understanding. We wanted to listen to what the Māori people said". Tangata Whenua captured interviews with kaumatua from different iwi for posterity, and increased Pākehā understanding of land grievances, including the Tainui-led occupation in Raglan in the 1970s.

Entertainment legend Maui Dalvanius Prime rides an emotional roller coaster, as he looks back on his career in this documentary made in the final stages of his battle with lung cancer. The boy from South Taranaki who dreamed of becoming a circus ringmaster became a taonga of the Kiwi music industry, from success in Sydney with The Fascinations, to his groundbreaking kapa haka / te reo hit ‘Poi E’. He recalls his struggle to come to terms with making Māori music, and takes one last hikoi to the East Coast — where he wrote ‘Poi-E’ with the late Ngoi Pēwhairangi.

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.

This item from arts show Kaleidoscope looks at pioneering Māori feature film Ngāti. There are interviews with director Barry Barclay, screenwriter Tama Poata, producer John O’Shea and actor Wi Kuki Kaa – who discuss the film’s kaupapa – and a visit to its premiere at Waipiro Bay Marae on the East Coast (where the film was shot). Barclay’s first dramatic feature, Ngāti also marked the first feature film to be written and directed by Māori. Many of the crew were enlisted via a scheme aimed at redressing the lack of young Māori working in the screen industry.