This Weekly Review pays respect to the traditional Māori art of raranga (or weaving), and looks at the industrialisation of New Zealand flax (harakeke) processing. The episode features a factory in Foxton where Māori designs are incorporated into modern floor coverings. Patterns in Flax features some great footage of the harvesting and drying of flax plants, and shots of immense (now obsolete) flax farms.
This web series profiles nine Ngāi Tahu artists, all working in different mediums. Weavers Reihana Parata and Morehu Flutey-Henare, and carver Fayne Robinson use traditional designs and materials like flax, feathers, stone, pounamu and wood, while conceptual artist Nathan Pohio uses 'found' objects like old photographs, presenting them in different contexts so they speak to a new audience. From photographer Fiona Pardington's 'memento mori' imagery to painter Simon Kaan's serene landscapes, each artist draws inspiration from the land and its wairua (spirit).
This NFU mini-biopic eulogises the 19th Century Māori leader Te Rauparaha. The Ngāti Toa chief led his people on an exodus from Kāwhia, to a stronghold on Kāpiti Island where he ruled — via musket, flax trade and diplomacy — over a Cook Strait empire extending south to Akaroa. The free-ranging film includes recreations of the 'Wairau Incident' which stirred fears of Māori uprising amidst settlers; Te Rauparaha’s ignominious 1846 arrest by Governor Grey; and the 1849 reburial on Kapiti of the "cannibal statesman" (evocatively rendered using inverted colours).
This 1983 film looks at New Zealand in World War II, via a compilation of footage from the National Film Unit’s Weekly Review newsreel series, which screened in NZ cinemas from 1941 to 1946. It begins with Prime Minister Savage’s “where Britain goes, we go” speech, and covers campaigns in Europe, Africa and the Pacific, and life on the home front. The propaganda film excerpts are augmented with narration and graphics giving context to the war effort. Helen Martin called it "a fascinating record of documentary filmmaking at a crucial time in the country’s history".
This short film draws on a key incident in the life of Te-Ao-kapurangi, a woman of mana for Te Arawa's people. In the late nineteenth century, Aotearoa was in the grip of a 'musket war'; firearms were having a devastating effect in tribal battles. Hongi, a Ngāpuhi chief, leads a well-armed assault on a rival Te Arawa tribe. Te-Ao-kapurangi (Stephanie Grace) challenges Hongi and uses her wits, not a gun, to save her people. Invited to prestigious French festival Clermont-Ferrand, the film marked a rare drama directing credit for the late Tama Poata, writer of landmark Māori film Ngāti.
Made for the Post Office, this 1971 National Film Unit documentary offers a potted history of New Zealand, using postage stamps as the frame. Director David Sims ranges from Māori rock drawings, to Tasman and Cook. Once Pākehā settlers arrive, the film offers a narrative of progress (aside from two world wars) leading to nationhood and industry. Archive photographs, paintings, Edwardian-era scenes and reenactments add to the subjects illustrated on the stamps. The stamps include New Zealand’s first: a full-face portrait of Queen Victoria by Alfred Edward Chalon.
Māori Television’s award-winning news and current affairs show took its bold name from a colonial government department. This 2017 episode profiles four non-conformists: Mongrel Mob boss Rex Timu’s war on P; Raihania Tipoki's waka protest against East Coast oil surveying; Taranaki mother Tina Tupe's preparations for her own tangi; and globetrotting screenwriter David Seidler. Seidler makes an annual trip to a Tarawera cabin – he has a Kiwi son to a Māori woman – and talks about his Oscar-winning movie The King’s Speech, and his admiration for kapa haka.
This slot in TV3’s Great War Stories series looks at Kiwi conscientious objector Mark Briggs. In World War I imprisonment faced those who objected to doing their bit for King and country on moral grounds. In 1917 unionist Briggs and 13 others (including Archibald Baxter) were shipped to the front and made an example of via ‘Field Punishment No.1’, which saw the pacifists bound to a post in the open, then forced into the trenches. Archive material and art by Wellington's Bob Kerr depict the torture in this short documentary, which screened during 3 News in 2014.
Sir Ed Hillary, then in his early 50s, acts as tour guide to remote New Zealand. In the far north he receives a tokotoko (walking stick) and admires the Aupōuri people’s connection with the land. He goes bush and dives for scallops off Stewart Island, and fishes on a Hollyford sandspit. In 1971 he tackles a grand traverse of Mount Cook with Harry Ayres and other mates — not bad for a self-described "middle-aged family man who has tried to keep himself reasonably fit". Sir Ed narrates, and his down-to-earth passion for adventure makes this an inspiring travelogue.
One of the last films made by Jeremy Sykes before his death in the Antarctic in a helicopter accident, this NFU short commemorates the 1969 Cook bicentennial. It traces Cook’s first voyage to New Zealand and his charting of the coastline. Contemporary illustrations and dramatic camerawork are used to follow his six-month journey around Aotearoa. It also highlights Cook's navigational skills as he sailed the Endeavour, home to 94 men, two greyhounds and a goat, through uncharted waters, helping earn him his reputation as "explorer extraordinary and servant of the King".