This Landscape doco looks at the muttonbirding culture of the deep south, as Rakiura (Stewart Island) Māori exercise their customary right to harvest the birds for food, oil and feather down. The hunt begins with a rugged trip to the islands where hundreds of thousands of tītī (or sooty shearwater) arrive annually to breed. The kinship of birding is evident as families (and a poodle) set up camp. Soon the salty kai is plucked from burrows and sent by wire downhill to the ‘pluckhole’. This was an early gig for director Bruce Morrison (Heartland, Shaker Run).

This documentary tells the story of the inimitable kea. The 'Clown of the Alps' is heralded as the world’s smartest bird (its intelligence rivals a monkey’s). Kea are famous on South Island tracks and ski fields for their insatiable (and destructive) inquisitiveness. Curiosity almost killed the kea when it was labelled a sheep killer, and tens of thousands were killed for a bounty. After shots of baby kea being fed, there is extraordinary night footage in clip four of the 'avian wolf' in action. The award-winning film makes a compelling case for the charismatic kea as a national icon.

This documentary looks at the history of the island of Motutaiko, the prominent landmark in the middle of Lake Taupō. Motutaiko is a sacred site for Ngāti Tūwharetoa. Directors Toby Mills and Moana Maniapoto use interviews and shots of island life to examine Motutaiko’s geological and mythological origins, its strategic place in Māori history (from the muttonbirds that gave the island its name, to its role as a stronghold), desecration of burial sites, and its contemporary place as a conservation bastion free of predators — and home to rare birds, insects and trees.

This muscular early 90s cover of The Fourmyula’s pastoral 1969 classic comes from the first album by Don McGlashan’s band The Mutton Birds. The award-winning music video was directed by Fane Flaws — the first of six he made with the band (after previously working with McGlashan on The Front Lawn’s Beautiful Things clip). Guest vocalist Jan Hellriegel features amongst the battery of kaleidoscopic and psychedelic digital effects used to evoke the joys of nature. In 2001 the original tune was voted best NZ song in 75 years by songwriters’ association APRA. 

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.

Don McGlashan’s anthemic plea for safe harbour — written for band The Mutton Birds — won him his first APRA Silver Scroll songwriting award, and began a life of its own. It was used in the soundtrack of a short film (Boy), a movie (Perfect Strangers) and was given all star treatment by Greenpeace. But TVNZ’s use of it on National Party conference footage was a step too far for McGlashan, who took very public offence. Director Fane Flaws places his video — a nominee for an NZ Film and TV Award — in the eye of a mermaid rather than a storm, but plenty of perils await.

This fourth episode of Captain’s Log sees host Peter Elliott journeying around the bottom of the South Island, tracing the end of James Cook’s first journey around New Zealand. The precarious Otago Harbour is navigated in an oil tanker, before a much smaller boat takes Elliott around the bottom of Stewart Island to Fiordland, where his captain Lance Shaw describes major conservation efforts in the area. A trip up the treacherous West Coast in a concrete carrier is cause for nerves, then a sail aboard Spirit of New Zealand offers a chance to reflect on the journey.

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.

Landscape was made by ex-National Film Unit producer Bob Lapresle (six episodes were made in 1968 and six the following year). The focus of each half-hour programme was on people and personalities rather than on scenery, which was then being covered by the NZBC’s popular Looking at New Zealand. Beginning with ‘Friday in a Country Town’, the Landscape series went on to cover such varied topics as a family shearing gang, muttonbirders exercising their customary rights, the day to day life of a policeman, and the growing awareness of New Zealanders towards the arts.