Since 1959 Cadbury Flake advertisements have been evoking the sensual pleasure of consuming the bar. The ads’ soft focus emphasis on young women enjoying “only the crumbliest, flakiest chocolate” has also moved more febrile minds to make risqué associations with the chocolate that “tastes like chocolate never tasted before”. This 1983 edition, produced by Silverscreen, sees a winsome woman wander in a romantic rural landscape before showing “a very special way to eat chocolate.” Homage was paid to the campaign in Taika Waititi’s 2016 feature Hunt for the Wilderpeople.

Then reigning US Open champion Michael Campbell is the subject of this episode from the series profiling notable New Zealanders. The ‘slice of life’ follows the golfer on a trip home to compete in the 2006 New Zealand Open, and to raise funds for Ronald McDonald House (a charity helping kids suffering from cancer). On the way to Gulf Harbour, a low key Campbell reflects on his journey from Titahi Bay to beating Tiger Woods: discussing fame, being a role model for younger golfers, and — on a photo shoot draped in a kākahu (feather cloak) — being Māori. Campbell would retire in 2015.

This Landscape doco looks at the muttonbirding culture of the deep south, as Rakiura (Stewart Island) Māori exercise their customary right to harvest the birds for food, oil and feather down. The hunt begins with a rugged trip to the islands where hundreds of thousands of tītī (or sooty shearwater) arrive annually to breed. The kinship of birding is evident as families (and a poodle) set up camp. Soon the salty kai is plucked from burrows and sent by wire downhill to the ‘pluckhole’. This was an early gig for director Bruce Morrison (Heartland, Shaker Run).

In 1881, after being met by the pa's children holding white feathers of peace, invading constabulary ended Te Whiti and Tohu's passive resistance at Parihaka in Taranaki. One of the darkest episodes of the NZ Wars, it is revisited in this documentary made by Paora Joseph, which follows another group of Taranaki children undertaking an emotional, modern day pilgrimage to the South Island jails where their ancestors were exiled and forced to labour. Footage of their hikoi is interwoven with their poetry, song, art and narration.

Episode four, series four of this Māori artists’ profile series, tracks eminent photographer Fiona Pardington. In this extract Pardington works with her brother Neil, and discusses her life path: her Māori roots, wanting to be a photographer at age six, art school, and the hard road to making a living as an artist. Describing her medium as one of mood and depth, her search is for a balance of knowledge and wairua. Includes images of her stunning interpretations of cultural taonga, such as specimens of esteemed (and extinct) huia birds, and carved pounamu.

This 1993 documentary surveys the world’s southernmost volcano, Mount Erebus. Cameras travel to never before filmed depths, 400 metres below the sea ice. They also go 3500 metres above sea level into the erupting crater. The film charts what is able to survive in the otherworldly environment, from seals to moss. Solid Water was the third part of an acclaimed Wild South trilogy on Antarctica, which helped establish a relationship between Discovery Channel and TVNZ’s Natural History Unit (later NHNZ). It was awarded for Best Camera at the 1994 New Zealand TV Awards.

This episode of the 1987 "mainly country" music show starts with host Andy Anderson touting homegrown talent. Al Hunter sings about Queen Street’s neon cowboy. Auckland’s Working Holiday sing Aretha's blues number 'Won't Be Long' with harmonica player Brendan Power. Jodi Vaughan performs a plaintive country ditty. Gore’s Dusty Spittle suggests listening to Mum's advice about overdoing it, accompanied by an illustrative skit (with actors Mark Hadlow and Alice Fraser). Then it’s Andy’s favourite Kiwi singer, Hammond Gamble. All the guests jam onstage to conclude.

Animals, people and cameras can make for a wild unpredictable combination, as this set of bloopers demonstrates. First up is the legendary 1989 clip of rugby star Zinzan Brooke falling off a spooked Shetland pony in Wales. Back on Kiwi soil, Dexter the golden labrador refuses to listen to owner Mark Leishman. A hare and dog take over a trotting track and cricket pitch, while reporters doing their pieces to camera are harassed by a friendly horse and overzealous ostriches. Plus two pigs give Country Calendar reporter John Gordon the giggles.  

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.

This NFU portrait of 19th Century artist Gottfried Lindauer traces his wide-ranging life, from his Bohemian origins and arrival in New Zealand in 1873, aged 35, to his death in Woodville in 1926. Lindauer’s portraits, especially of Māori in formal dress, became an iconic record of colonial era New Zealand people. A market developed for Lindauer’s work, established by his patron Henry Partridge. Lindauer’s commissions (held at Auckland Art Gallery) are respectfully filmed here; and his process is detailed, including his most famous image, Ana Rupene and Child.