Before X Factor there was New Faces, before Masterchef ... Graham Kerr, before Country Calendar there was ... er, Country Calendar. This collection picks the screen gems from the decade that gave Kiwi pop culture, "miniskirts, teenagers — and television." Peter Sinclair, Sandy Edmonds, Howard Morrison, and Ray Columbus star. Do your mod's nod and C'mon! 

Constance centres on a young woman who attempts to escape the staid world of 40s Auckland, by embracing glamour and passion. After meeting a photographer, her aspirations of stardom are brutally fractured. Directed by Bruce Morrison, the movie echoes the style of Hollywood melodrama, while simultaneously critiquing the dream. Donogh Rees was widely praised in the title role as a protagonist who lives in a fantasy world, with one review describing her as “New Zealand’s answer to Meryl Streep”. New York's Time Out called the film "lush and exhilarating".

The Mighty Civic offered a delirious and colourful celebration of Auckland's grandest old movie palace, made at a time when the building's future was under threat. The film uses a mixture of stylised sequences, archive footage, personal memories and poetic narration to evoke the spirit of the theatre in its heyday. Director Peter Wells' film galvanised public support, and ultimately the building was saved and refurbished, to remain the crown jewel of Queen Street's cinema district. This clip features the first 10 minutes of the hour long film. Costa Botes writes about the film here. 

A rod and rally race is the angle for this 1969 light comedy. Legendary angler ‘Maggots’ McClure lures “glamour boy” lawyer and fishing novice Applejoy (Peter Vere-Jones) into a contest to catch three trophy fish in Russell, Taupō, and Waitaki. The old dunga versus Alvis ‘Speed 20’, north versus south duel transfixes the nation; snags, shags and scenic diversion ensue. Directed by noted UK documentary maker Derek Williams, the caper was made with NFU help and funded by energy company BP. It showed with Gregory Peck western The Stalking Mood in New Zealand theatres.

Like many others who signed up at the beginning of World War II, Tom Beale was looking for excitement, travel and the glamour of the uniform. Where he ended up was Guadalcanal in the Solomon Islands. A Leading Aircraftman (a junior rank in the air force), Beale served alongside Americans and Australians as they fought to push the last remaining Japanese soldiers off the island. Daily Japanese bombing raids added to the discomfort of fighting in the tropics. Returning home, Beale found it difficult to settle and re-enlisted, ending up in Japan as part of the occupation force.

TVNZ ventured back into country music for the first time since That’s Country with this series hosted by actor and musician Andy Anderson. Very much a down home cousin to its big budget predecessor, it bypassed glamour to focus firmly on live performances (with few retakes allowed). Music director Dave Fraser presided over a crack resident band. The guest performers included Midge Marsden, Dalvanius, John Grenell, Beaver, Sonny Day, Hammond Gamble and Brendan Dugan. The music sometimes strayed into other genres. Five episodes were made, but only four screened.

Wedding photographs are attempts to create and preserve perfection, taken under pressure. Can the results be art as well as personal history, or are they neither? Such questions are the focus of this Artsville doco, which benefits from insights by a multi-cultural cast of wedding photographers. Geoffrey Heath questions the reality of glamour and romance in some of his own art photography, while labouring to capture beauty in his wedding work. Others recall the challenges of getting good shots amidst drunkenness, dysfunctional families, and grooms in their undies. 

‘Cruise Control’ is one of the Headless Chicken’s most poppy and accessible songs, and became a hit in New Zealand, and (in remixed form), in Australia. This studio shot promo, for the ‘Eskimos in Egypt’ remix, has Fiona McDonald and the Chickens packed into a touring car cruising to old school rear projected nighttime cityscapes. It’s dark and moody: a wry touch of Hollywood glamour mixed with early 90s Auckland - dated by Knight Rider, bling and brick-sized mobile phones.

Gloss was a popular Kiwi television drama series made by TVNZ that screened in the late 80s; it combined a wealthy family, the Redferns, with a lucrative high-fashion magazine business. Yuppies, shoulder-pads and méthode champenoise abound in this cult "glamour soap". New Zealanders wanted to see themselves as less bottom of the world and more "here we come and we are sailing" (as the infamous Cup campaign song warbled), and Gloss was just what the era demanded.

This TV documentary sees director Peter Wells look at his life “through pansy-tinted glasses”. Motivated by the anniversary of his brother’s 1989 death (from AIDS) Wells’ film charts his path to becoming a pioneering gay filmmaker and writer: from growing up fascinated by colour and the glamour of royalty in conservative Port Chevalier in the 1950s, to baking, and deciding to come out when he was drafted to fight in Vietnam. As befits an artist whose credits include Desperate Remedies, the treatment is distinctive: a mixture of documentary, (aptly) flowery home movie, and quiet reflection.