This special edition of the National Film Unit’s long-running monthly magazine series looks at some of the “people, places and events filmed by our cameramen during the years 1941 - 1962”. The NFU’s 21st birthday review — compiled by David H Fowler — ranges from wartime newsreels to the post-war boom (factories, dams, industrial agriculture), from salvos to Snell. With war ever present there’s a focus on the macro, but details make events relatable to Kiwi theatre-goers: NZ soldiers playing rugby in Korea or ciggies hanging from Ballantyne’s firefighters’ lips.
This National Film Unit dramatised doco was boosterism for postwar immigration to New Zealand. Three Brits (Margaret, Cassie, Harry) travel and settle down under and the film records their hopes, jobs (nurse, factory worker, engineer), challenges (accents, 'casual' work ethic, locals wary of the ‘Poms’) and adventures in the new country (tramping, skiing, milk bars, the races, romance). Partaking in a glacier rescue raises Harry's spirits and assimilates him with the blokes. The film was released theatrically in the UK, and was scored by Douglas Lilburn.
This documentary chronicles a shameful passage in NZ race relations: the controversial mid-70s raids on the homes and workplaces of alleged Pacific Island overstayers. Director Damon Fepulea’i examines its origins in Pacific Island immigration during full employment in the 1960s, when a blind eye was turned to visa restrictions. As times got tougher, that policy changed to include random street checks by police, despite official denials. Resistance by activists and media coverage helped end a policy which has had a long term effect on the Pacific Island community.
Nominated for a Qantas Media Award, this documentary examines prejudices against Asians in New Zealand, amidst the context of burgeoning immigration (80,000 ethnic Chinese and 20,000 Koreans have arrived in NZ since 1988). Directors John Bates and Manying Ip look back at the history of Asian settlement in Aotearoa, from colonial xenophobia and the poll tax inflicted only on Chinese migrants, through ‘ching chong Chinaman’ abuse, to the present day — where 21st century migrants face struggles with discrimination, language barriers and integrating in their new home.
Sharply contrasting lives in the South-West feature in this episode of director Geoff Steven's USA road trip. Cosmetics millionaire Mary Kay Ash talks about her empire from her pink, Liberace-inspired Dallas mansion; while business efficiency guru Michael George seeks to make American industry more competitive. Meanwhile, in the New Mexico desert, Pueblo Indians attempt to reconcile ancient traditions with the nuclear arms industry that employs them; and, in El Paso, a second generation Mexican-American border guard intercepts illegal immigrants.
Heart of the High Country saw NZ and the mother country getting into bed together, on and off the screen. The rags/riches/rags tale chronicles 18 years for Ceci (Valerie Gogan), a working class Brit who arrives in the South Island and fends off a series of mean-tempered pioneer males — and one long unrequited love. The Sam Pillsbury-directed mini-series played in primetime on ITV in the UK, and was funded by England’s Central TV and TVNZ. It shares storytelling DNA with earlier TV movie It’s Lizzie to Those Close; Brit Elizabeth Gowans scripted both.
The 60s and 70s saw an influx of Pacific Island migrants to New Zealand. This 2015 Tagata Pasifika special looks at the children and grandchildren of those adventurers, who are part of a “second migration” — from Aotearoa to Australia. Reporter Sandra Kailahi talks to families about the reasons why they made “the jump” (education, jobs, opportunity, “a better life than what I had in South Auckland”); the challenges they faced (contract work, floods, racism); the trade-offs (lack of community and culture) — and why some chose to come back ‘home’ to New Zealand.
Here to Stay uses New Zealand personalities to examine key settler groups that make up the Kiwi tribe. Each show mixes personal stories with a wider view, as the presenter sets out to discover what traits and icons their ethnic group contributed to the NZ blend. In the first (of two) series Michael Hurst, Theresa Healey, Ewen Gilmour, Jackie Clarke, Frano Botica and Bernadine Lim explore the English, Irish, German, Scot, Croatian, and Chinese stories respectively. Each episode includes identity reflections from a chorus of well-known Kiwis.
This turn of the century comedy series is a satirical look at colonial life through the eyes of Māori chief Te Tutu (Pio Terei). In this third episode, Te Tutu interrogates efforts by the settlers to mine for gold, and has designs on Vole's stove. Objects of ridicule include Pākehā and Māori cuisine; settler lust for “a useless, worthless, dangerous, coloured stone”; and patronising colonialism: “what’s the story with those beads and blankets? Haven’t they got any cash?” Meanwhile hangi pits are causing a spate of injuries. Michael Saccente has a guest role as an American miner.
Frank Whitten won probably his biggest audience when 10 million Brits saw him play an outrageous bastard in this primetime melodrama. This first episode sees Ceci (Glaswegian actor Valerie Gogan) arriving from England hoping for a better life, and instead finding herself trapped on a rundown farm with a rapist, a bitter old man and a simpleton. NZ producers Lloyd Phillips and Rob Whitehouse won finance from TVNZ, Westpac and the UK's Central Television for the six-part mini-series, written by Brit Elizabeth Gowans. There were 118 speaking parts, most of them Kiwi.