This collection looks at some of New Zealand's most significant national tragedies. Spanning 150+ years, it tells stories of drama, caution, hope and recovery — from the 1863 wreck of the Orpheus at Manukau Heads, to Tarawera, the Wahine, Erebus, Pike River and Christchurch. In the backgrounder, Jock Phillips writes about the collection, and the "common sequence" to disaster.
At least 3080 Polaroid photographs appear to have been taken for this piece of animated cleverness, which was created by Kelvin Soh and Simon Oosterdijk from Auckland design company The Wilderness. The clip offers viewers a stuttery cavalcade of beautiful faces, including guest vocalist Anika Moa. The series of scrawled numbers visible below the photos give a viewers an effective lesson in how animation — and filmmaking — is ultimately a series of still images, laid in a row. 'Come Here' comes from Dimmer's second album, You've Got to Hear the Music (2004).
Like the digital ‘mash-up’ concept to come, this 1970 film uses content from more than one source to create something new. In this film collage, relics of visual and material culture from New Zealand museums are combined to evoke life in earlier eras. These objects — from moa skeletons, to scrimshaw, to a stereoscope, and surveys of Māori culture and sex appeal (!) — are mixed with historical footage (including turn of the century Queen Street) and a classical score. Another Time was directed by Arthur Everard for the National Film Unit.
After the passing of a family member, the Bell family discovered a selection of late 19th century photographs tucked away in a closet. Taken by a man named William Partington, the photos documented local Māori around the Whanganui River area, and were subsequently of incredible cultural and financial value. The owners of the photographs opted to sell them at auction. Local iwi on the other hand, felt it important that their whakapapa returned home. Winner of an Aotearoa TV Award, this documentary tells the story of finding compromise when dealing with precious taonga.
This specially designed light and sound installation was projected onto the facade of the Carillion in Wellington's Pukeahu Park in 2016 to commemorate the 100th anniversary of WWI. Archival material, like photographs and excerpts from letters, mix with original artwork inspired by natural imagery, and Māori and Pacific motifs, to tell Kiwi stories from the frontline. Among them are the HMS New Zealand's involvement in the Battle of Jutland, and important work by Kiwi tunnellers. This version is slightly expanded from the original 2015 film.
Opening with an image of Orpheus floating on the water, this inspired doco climaxes with a contender for NZ's most eyeopening montage yet. Loaded with examples of the infinite ways the human voice can make music, the film sees host Julian Waring introducing choirs, opera, balladeers and protest singers. Along the way Michael Heath recreates a performance by Florence Foster Jenkins, a worryingly close cousin of Asian-New Zealand songbird Wing. The mash-up finale uses 2000 photographs to summarise two decades of music, in a scene that must have blown minds in the suburbs.
In Gaylene Preston's documentary, seven elderly women recall their personal experiences of World War II. Their intimate, unadorned stories are filmed talking heads style, interspersed with personal photographs and period newsreel clips. From tragic love stories to long-suppressed revelations of sex and death, War Stories is a revealing touchstone of New Zealand history. It received international acclaim. LA Times writer Kevin Thomas enthused that Preston takes "a simple idea and turns it into a rich, universal experience".
Using plenty of his own photographs to illustrate his story, Errol Schroder takes us back to the 50s, 60s and 70s to provide his memories of being a photographer with the New Zealand Air Force (Schroder also spent three years in the navy). His Air Force career saw him posted through the Pacific and South East Asia. In Vietnam, there are tales of nervous times on American bases, and a hair-raising patrol in an OV-10 Bronco aircraft. Even in retirement, action came Errol’s way — his home was wrecked in the September 2010 Christchurch earthquake.
K'Lee was just 17 when this song took the New Zealand charts by storm, peaking at Number two. Her self-titled album produced another three hits for the Rotorua-born teenager. She was the first female NZ artist to achieve four top 20 singles off a debut album. The song is a cover of a 1980s ballad by UK band Mr Mister. The video, directed by Greg Riwai, features multiple K'Lees in the same scene, while singing in sync. Further sharply rendered visual effects work sees doves flying out of torn-up photographs.
This web series profiles nine Ngāi Tahu artists, all working in different mediums. Weavers Reihana Parata and Morehu Flutey-Henare, and carver Fayne Robinson use traditional designs and materials like flax, feathers, stone, pounamu and wood, while conceptual artist Nathan Pohio uses 'found' objects like old photographs, presenting them in different contexts so they speak to a new audience. From photographer Fiona Pardington's 'memento mori' imagery to painter Simon Kaan's serene landscapes, each artist draws inspiration from the land and its wairua (spirit).