This edition of the long-running National Film Unit series documents the curriculum at Manutahi Native District School in Ruatōria in 1947. The roll of 300 primarily Māori students, travel to the rural school on bus, foot and horse to learn everything from the alphabet to preparing preserves. Set in the post-war baby boom period, the male students learn to build a cottage while the girls learn ‘home economics’ (cooking and running a household). The first principle of the schooling is “learning by doing” and for the rural kids “the whole land is a classroom.”
Adapted from one of Katherine Mansfield's best known short stories, this restrained culture-clash-in-colonial-Wellington tale follows Laura (Alison Routledge from The Quiet Earth), an idealistic teen preparing for her family's garden party. The raising of marques and arrangement of cream puffs and canna lilies is disrupted by news of a neighbour's accidental death. Laura protests that the party should be cancelled, but her mother disagrees. A visitation at the working man's cottage down the hill and an encounter with the victim’s corpse piques Laura's class consciousness.
In this two-part Lookout documentary from 1983, critic Hamish Keith explores how New Zealanders have housed themselves over the 20th Century. This first part builds to 1935: it begins in Auckland War Memorial Museum, with Keith asking how Kiwis would represent themselves if they were curators in the future. He presents the state house as the paramount Kiwi icon, and examines the journey from Victorian slums and Queen Street sewers to villas, bungalows and suburbia; plus the impact on housing of cars, consumerism, influenza, war, depression, and new ideas in town planning.
The quarter acre dream is in full flower in this colourful celebration of Kiwi gardening. Director Conon Fraser surveys the symbols (tool sheds, trimmed edges) and rituals (broken window, cricket ball), and muses on the role of gardens: from civic pride to “escape from the house”. A wide range of public and private landscapes are honoured, both reverentially — a time-lapse of blooms in Wellington's Lady Norwood Rose Garden — and whimsically — eg talking pests, and a couple rolling on the lawn in front of a knitting oldie. The film won top prize at a US Horticultural Society Festival.
Brian Brake is regarded as New Zealand's most successful international photographer. He worked for the Magnum cooperative, and snapped famous shots of Pablo Picasso at a bullfight and the Monsoon series for Life magazine. In this Inspiration documentary — made shortly before his 1988 death — Brake reviews his lifelong quest for “mastery over light”, from an Arthur’s Pass childhood to a fascination with Asia. He recalls time at the National Film Unit and is seen capturing waka huia, Egyptian tombs, and Castlepoint’s beach races (for a new version of book Gift of the Sea).
Heartland host Gary McCormick discovers the scenic and rustic charms of Glenorchy, near Queenstown. McCormick meets Rosie Grant, who has lived in the same cottage since 1916, and shares her home with 17 cats; checks out Paradise House, the first guest accommodation in the area, now owned by Dave Miller; and plans to have a day at the races. But the film crew's plans go awry when the settlement suffers serious flooding, and stories of sand-bagging, stock rescue and property recovery replace the more typical Heartland fare.
A colonial widow, recently arrived in New Zealand from England, answers an advertisement from a stoic settler for a wife. They agree to an arrangement. Later Mrs Brown forms an attachment to their Māori servant girl Atawhai, and slowly learns the secret behind her presence. Written by playwright April Phillips (who also plays Mrs Brown) this short film was directed by Christchurch theatre director Craig Hutchison. It was filmed at Wellington's Nairn Street Cottage. ‘Utu Pihikete’ was a derogatory term for half-caste children meaning “paid for in biscuits”.
Rosemary (Annie Whittle) is a photographer, mother and middle-distance runner. A project photographing the rare yellow-eyed penguin sends her to a remote Otago cottage. Despite menacing happenings, she refuses to be intimidated. Then events escalate, sending her running for help in the race of her life. Bird-watching, stranger danger and feminist film theory line up for a time trial in Melanie Read's first movie, for which 20 of the 29-strong production crew were women. Marathon champ Allison Roe — who trained Whittle off-screen — makes a brief cameo.
This beautifully shot documentary is a social and architectural history of the great NZ bach (or crib, for those south of the Waitaki). Maggie Barry tracks their evolution from workers’ cottages to a fully fledged icon in danger of extinction: as the blind eye turned by councils that made them possible becomes a thing of the past, and the coastline becomes too valuable to allow ‘just anyone’ to erect a shack on it. The Kiwi spirit that created the building is celebrated. The bach enthusiasts interviewed include Sam Hunt, Keri Hulme, Karl Stead and Rawiri Paratene.
In this episode of the influential NZ architecture series, dapper tour guide David Mitchell looks at the 'Christchurch Style'. He begins with the humble baches on Taylor's Mistake's cliffs, before focusing on the Euro-influenced brutalism of Miles Warren and the "flamboyant" practice of Peter Beaven (earthquake victims SBS House, and Lyttelton Tunnel's "fifth ship" are featured); and the cottage's modern descendent: Don Donnithorne's post-war home. Warren intriguingly compares his process designing Christchurch Town Hall with Jørn Utzon's Sydney Opera House.