This 1981 promotional short snaps the clapperboard on the National Film Unit’s new filmmaking facilities at Avalon. The Unit had moved from its Miramar birthplace to the Lower Hutt complex in 1978 (it was officially opened on 18 October that year). Narrated by Bob Parker and scored to a funky soundtrack, the film is a guide through NFU production processes. A montage of production scenes is followed by a look at film processing once the film is ‘in the can’. Tricks of the trade depicted include rear projection, film colouring and foley (sound effects).
Directed by Hugh Macdonald, This is New Zealand was made to promote the country at Expo '70 in Osaka, Japan. An ambitious concept saw iconic NZ imagery — panoramas, nature, Māori culture, sport, industry — projected on three adjacent screens that together comprised one giant widescreen. A rousing orchestral score (Sibelius's Karelia Suite) backed the images. Two million people saw it in Osaka, and over 350,000 New Zealanders saw on its homecoming theatrical release. It was remastered by Park Road Post in 2007. This excerpt is the first three minutes of the film.
'One Will Hear the Other’ offers all the trademarks of a Shihad classic — epic guitars, driving drums and a chorus tailor-made for joining in at one of the band’s legendary live shows. Directed by Australian Toby Angwin, and shot in Shihad’s then hometown of Melbourne, the video features performance footage of the group projected on to central city buildings, alongside a narrative implying this is the work of a group of guerilla street artists. The song was the lead single from 2008’s Beautiful Machine album, which debuted at number one on the New Zealand Top 40 chart.
The third single from Opshop’s triple platinum-selling second album Second Hand Planet reached number three on the NZ singles chart, and became the theme song for a string of heart string-pulling NZ Post adverts with its lyric “one day / you’ll realise how much you have me”. Director Luke Sharpe’s video has the band in semi-darkness, accompanied only by a smoke machine and the odd dreamy projection. Lead singer and New Zealand’s Got Talent host Jason Kerrison’s vocals are harmonised by Dianne Swann from When the Cat’s Away and The Bads.
The Ray Columbus and The Invaders' 60s classic gets a modern make-over by the Mint Chicks, to mark the Invaders' induction into the NZ Music Hall of Fame. The clip was shot on the night of the Music Awards where Columbus and co were honoured. Shot in black and white, the video embraces the 60s theme, with a stage performance involving mini-skirted go-go dancers and swirly psychedelic back-projections. Backstage footage of the surviving members of The Invaders also features, as do shots from the original She's a Mod promo clip.
This July 1977 Seven Days report tunes in to Radio 1XX Whakatane, NZ’s then-smallest private radio station. Coastline Radio has been giving the Eastern Bay of Plenty its own MOR voice for six years. Seven Days reveals tensions between DJs in cut-throat jousting for spots. On-trial Breakfast DJ John Adeane describes his job as “personality projection” as he chugs on a Camel and rouses “the country giant”. He warns of the danger of being “an attractive proposition to the girls in town”, and describes behind the scenes activities during the religious programming.
Law graduate, documentary director and onetime talkback host Moana Maniapoto is also a longtime champion of music in te reo. With the Moahunters — vocalists Teremoana Rapley and Mina Ripia, backed by an accomplished team of funk musicians — she fused pop and hip hop with Māori culture and politics, and scored hit singles with ‘Black Pearl’ and ‘AEIOU’. After disbanding the Moahunters in 1998, she formed Moana and the Tribe. The group adds haka and video projections to create a multi-media experience which has enjoyed considerable international success on the world music circuit.
Using spectral tactics to generate road safety awareness this film carries on from where The Elysian Bus left off, emphasising that the loss of the 300 Kiwis who are likely to die on the roads in the coming year will be more than statistical. A Christmas Carol-style future projection shows gifts being handed out from under the tree, but Mary is not there to receive hers as she was on "the list of names". Actual crash footage drives home the grim message with more solemnity than Ghost Chips. One of the names under the reaper's skeletal finger is spookily 'Peter Jackson'.
A trio of future Kiwi screen stars smoke, smoulder, steal — and worse — in Scott Reynolds' serpentine short noir. Kane (Marton Csokas) and his Zambesi-clad woman on the side (Danielle Cormack) set about ripping off Kane’s rich wife (Jennifer Ward-Lealand) with bloody results. Writer/director Scott Reynolds and longtime partner in crime, cinematographer Simon Raby, serve notice of their talents — and inspirations — with heady lighting, deliberately shonky back projection, and opening titles right out of Hitchcock. Muso Greg Johnson supplies the horns.
Updated Out Run-style back projection effects give this Tim Van Dammen clip momentum, and along with Boh's seductive performance, drive a terrific song. "The 1965 mustang was kindly donated for the shoot, which was during the weekend of the 48 Hour Film Festival ... we were asked to turn the playback down about five times by nearby crews trying to get dialogue [for their 48 Hour films] (no hard feelings guys - I hope)." Blur and Sharpen - May 09