By the mid 1980s Auckland had shifted from city of sails, to city of cranes. In the lead-up to the 1987 sharemarket crash, it was in the grip of "an unprecedented building boom". This 1986 Kaleidoscope report looks at the demolition and development from an architectural angle, as malls and mirror glass transform the city. Interviewees include developer Seph Glew of the (ill-fated) Chase Corporation, and his architects. Architecture critic Mark Wigley rates the BNZ Tower an "insult", but says Auckland's "crude" new buildings have at least provoked debate about what the city needs.
The concept of the New Zealand home — and who has the means to own one — can be a contentious topic these days. Aotearoa's history is one of architectural innovation: occasionally born from abundance, often of necessity, and sometimes from crisis. The titles which follow range from visionary concepts in Māori architecture, through sheds and houses in suburbia, to town halls, high rises and whole cities, busy being reborn —all this, plus critiques of urban sprawl, and a cartoon hero fighting a war on mediocre architecture (in Four Shorts on Architecture).
Director Sam Neill uses ‘Architect Man’ — a cartoon superhero trying to save Wellington’s buildings from mediocrity — to open this visual essay on contemporary Kiwi architecture. A montage of construction materials is followed by views on the high rise, woolshed, and Futuna Chapel. Renovation, DIY, prefabs and non-conformist design thinking are offered as hopes for the built environment’s future. Made by Neill when he was working at the National Film Unit, it was released in a shortened version (without the animation) in 1977, the same year he starred in movie Sleeping Dogs.
In this documentary, writer and satirist Peter Hawes crosses the Bombay Hills border in his Morris van to record his take on mid 1980s Auckland. Pocked with as many puns as Auckland has volcanic craters, Hawes' profile is a sprawling, breezy look at New Zealand's largest city: from a Chase Corporation high rise to shearing sheep in Cornwall Park; from Eden Park to Bastion Point. Interviews (with politicians, sportspeople, gossip columnists, strip club fashion designers) are mixed with skits covering jogging, bridge building, shipwrecks, multiculturalism and sewers.
Oft-derided across the dutch for its vowel-mangling pronunciation (sex fush'n'chups anyone?) and too fast-paced for tourists and Elton John to understand, is New Zealand's unique accent. Presented by Jim Mora, New Zild follows the evolution of New Zealand English, from the "colonial twang" to Billy T. Linguist Elizabeth Gordon explains the infamous HRT (High Rising Terminal) ending our sentences, and Mora interprets such phrases as 'air gun' (how are you going?). Features Lyn of Tawa in an accent face-off with Sam Neill and Judy Bailey.
As a showcase history of Christchurch on screen this collection is backwards looking; but the devastation caused by the earthquakes gives it much more than nostalgic poignancy. As Russell Brown reflects in his introduction, the clips are mementos from, "a place whose face has changed". They testify to the buildings, culture and life of a city now lost, but sure to rise.
In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
A 1970s film contrasting impressions of two places over the course of a day: Mana Island and Wellington city. Two young climbers (a teacher and a gardener) row out to the island while the sun rises and the city wakes up. Over smokes and beer, the men discuss why they climb; evocative shots of their rockface ascent are paralleled with shots of city bustle: traffic, Radio Windy DJs and new high rises. The genre of dramatised documentary was relatively new when cinematographer Attewell made this film — his directorial debut — mainly shot over two weekends in 1973.
Actor-turned-director Gregory King's debut short offers an experimental twist on the "fly on the wall" film. Here a handheld camera becomes the fly and the connection between three groups of modern city dwellers: an Asian family and the Auckland they encounter via airport, taxi, and hotel; a whacked-out man and a boy toying with each other in a dilapidated squat; and a party of drag queens in a high rise apartment (heels, snow and sequins). Pop won an 'Outstanding Achievement in Video Production' award at the Melbourne International Film Festival.
Possibly channelling the final rooftop concert by The Beatles (a number of The Crocodiles were big Beatles fans), this up-on-the roof video was self-produced by The Crocodiles. It marked Fane Flaws first directing credit — made, with fine business sense, for a song that was never released as a single. The location was near Parliament, with the high shots coming from an unauthorised trip to the top of a nearby Government high-rise. Vocalist Jenny Morris and drummer Bruno Lawrence play ill-matched lovers — as they would do in the video for breakthrough Crocodiles hit 'Tears'.