This Wild South edition joins two legendary New Zealand wildlife documentarians — photographer Geoff Moon and sound recordist John Kendrick — on a 1988 trip to Kāpiti Island. Rangers are learning about, and looking after, the sanctuary’s manu (birds), who are “biological refugees” from the mainland, escaping introduced predators. Dogs monitoring kiwi, a kākā census, and tīeke (saddleback) nest boxes are featured. The two old mates narrate the visit, which includes Moon building a bush hide, and footage of a pioneering 1964 tīeke relocation from Hen Island.
Te Ao Māori meets 70s kung fu movies in this Māori TV series, as a modern guide travels back to pre-Pākehā times to introduce "the greatest warriors of the past". Kairākau uses modern filmmaking tools (including roving camerawork, and the kinetic style of action films like 300) to explore ancestral history and showcase Māori martial arts. This first episode tells of Tunohopu’s utu, after an ambush by a Tūwharetoa war party sees the capture of his son and brother. Kairākau was created by Rangi Rangitukunoa. Kapa haka expert Wetini Mitai-Ngātai choreographs the martial arts.
This 1968 Looking at New Zealand episode travels to NZ’s third-largest island: Stewart Island/Rakiura. The history of the people who've faced the “raging southerlies” ranges from Norwegian whalers to the 400-odd modern folk drawn there by a self-reliant way of life. Mod-cons (phone, TV) alleviate the isolation, and the post office, store, wharf and pub are hubs. The booming industry is crayfish and cod fishing (an old mariner wisely feeds an albatross); and the arrival of tourists to enjoy the native birds and wildness anticipates future prospects for the island.
Nearly mammal free, pre-human New Zealand was a land of birds, many of them found nowhere else. In Birdland, Jeremy Wells (Eating Media Lunch) explores all things avian in Aotearoa. In this opening episode he visits Hauraki Gulf island sanctuary Tiritiri Matangi and Christchurch’s Peacock Springs. Putting the wry into wrybill, Wells muses on manu matters from twitching to tākahe poop. Dominion Post’s Linda Burgess praised Mike Single's "marvellous camera work", and Wells’ celebration of ordinary people "who work to protect and enhance what we still have".
This animated series follows the adventures of Tamatoa, his cousin Moana and their animal mates Manu the moa, Moko the tuatara and Kereru the kereru. In this episode Tamatoa sets out with Moko and Kereru after his uncle tells him about an island where the pipi grow "as big as flax bushes", and the kina are bigger than his appetite. They arrive in search of giant kaimoana and stumble upon an army of giant hermit crabs ... it seems Tamatoa may have bitten off more than he can chew. Set in pre-colonial times, the series was made by Auckland company Flux Animation.
This family-friendly series from company Flux Animation follows the adventures of Tamatoa, a young Māori boy and his friends Moana, Manu (the moa), Moko (the tuatara) and Kereru (the kereru). Making clear director Brent Chambers’ lifelong love of American animation, the ten-minute episodes feature visual gags aplenty, most of them sold with a Kiwi twist. Set in pre-European times, the series features the voice talents of comedian Cal Wilson, Jason Hoyte (Seven Periods with Mr Gormsby) and Stephanie Tauevihi (Shortland Street).
This documentary explores the stories of the people who live at Waiorua Bay on bird sanctuary Kāpiti Island. John Barrett talks about his Kāpiti tīpuna, from bloody iwi battles, whaling and farming, to his whānau's consciousness of their kaitiakitanga (guardianship) role. It looks at DIY island life (exercycle-powered water pumps) and its development as an unique eco-tourism destination where kākā parrots and kererū flock, and kiwi and dodo-like takahē wander freely. Says Amo Barrett: "we've got a treasure here that we should share with others".
This documentary examines the alpine flora and birdlife in the Upper Waitaki area of the South Island. Its distinctive bird-life includes karearea (falcons), mirimiro (tomtit), kererū and kea. The native vegetation is profiled in depth. The area's introduced animals include deer, chamois, and thar, which have become pests. Beautifully shot, directed, and packed full of information, this is the kind of film the NFU was famous for. It was commissioned by the Soil Conservation Council, NZ Forest Service and the Department of Internal Affairs.
Like the eponymous native plant this children's puppet programme stuck to the socks of many kiwis of a certain vintage. Produced in Dunedin by TVNZ's Natural History Unit (now NHNZ), Bidibidi followed the adventures of a sheep on a South Island station for two series. Adapted from the children's book by Gavin Bishop, the show interspersed puppet scenes and musical numbers with actual wildlife footage. This first episode sees Bidibidi chasing a rainbow with advice from Stella the kea; includes beautifully shot images of a menagerie of native birds.
This 1962 National Film Unit production is a comprehensive survey of the history and (then) state of Māori carving. Many taonga are filmed on display at Wellington’s Dominion Museum, and the design aspects of ‘whakairo’ are examined, from the spiral motif to the origin of iconic black, red and white colouring. Finding reviving tradition in new “community halls”, the film shows the building of Waiwhetu Marae in Lower Hutt in 1960, recording the processes behind woven tukutuku panels and kowhaiwhai patterns, as the tapping of mallets provides a percussive presence.