Crooner Marlon Williams has called 'Vampire Again' "my own demented tale of New Age self-affirmation". The song was born after he discovered he was the only person to dress up as a vampire for a screening of 1922 horror classic Nosferatu. Williams directs the music video; his portrayal of dance fiend and comical bloodsucker reflects his belief that good material can be found in the tension between serious and foolish. The video was shot and cut by veteran music photographer Steve Gullick (Nirvana). It won Best Music Video at the 2018 Vodafone NZ Music Awards.

"Hey you, you’ve got the moves … I can’t refuse!" Aishah and the Fan Club scored a run of pop hits in New Zealand and Malaysia in the late 80s with songs like 'Sensation' and this single (which peaked at No.8 in the charts). This bold studio-set video, directed by Paul Middleditch, won Best Music Video at the 1989 New Zealand Music Awards. With paint splashes, leather jackets, shades, silhouetted choreography, Dr Martens, and slick camera moves and editing, it’s an unmistakably 80s video, coupling the crisp pop beats with a fashion shoot or dance floor vibe.

"I'm gonna build a room that echoes, around and around and around with its own sound." Peking Man's career peaked in 1985 with 'Room That Echoes', a number one hit that saw the band dominate the 1986 music awards. Directed by John Day, the surrealistic video features animated computer graphics of the afore-mentioned room, slowly building wall by wall and tracking against a background of stars. Margaret Urlich is the only band member present, appearing as a lone silhouetted figure dancing across a checkerboard floor.

After ten years performing together, Ardijah released their debut album Take a Chance to platinum sales and a 1988 NZ Music Award for Most Promising Group. One of three Top 10 hits off the album, 'Time Makes a Wine' is punctuated by clever light direction and a bright colour palette. All the way through silhouettes, smoke and an upright bass add to the video’s visual appeal. A few questionable hairstyles aside however, it’s the bright animation, reminiscent of A-ha’s classic Take On Me video (and only a couple of years after), that proves the most eye-catching.

A pocket survey of the diversity of Kiwi farming circa 1952, this film serves as a booster’s reminder that thanks to self-reliance and research, New Zealand ranks as “one of the world’s great farming countries”. Cameraman Brian Brake captures arresting high contrast imagery: cattle move in silhouette against the sky; dust-caked fertiliser trucks emerge from clouds of lime; shirtless WWII veterans load silage onto harvesters. Meanwhile an upbeat, nationalistic voiceover pays homage to the holy trinity of good pasture, stock and climate.

After Neil Finn-penned single ‘I Got You’ took Split Enz to number one, another Neil Finn song was chosen to announce follow-up album Waiata (aka Corroboree). The video — which screened in the early days of music channel MTV — is surprisingly understated, while retaining touches of familiar Enz weirdness. After walking past coloured silhouettes of the rest of the band, Neil arrives on a set designed on a theme of black, etched with lines of colour. Tim mimes enthusiasm while sitting on the floor, keyboardist Eddie Rayner moonwalks, and the Enz step on out of there. 

“Unlike Siamese twins who are joined at the hip, we’re joined at the hip-hop…” This 1992 single was the opening track from MC OJ and Rhythm Slave’s What Can We Say? album, released on Murray Cammick’s Southside Records. The duo rap that “we won’t stop until we get enough”, and the hyperactive black and white video captures the youthful energy of the then teenage pair. There’s Converse trainers, turntables, breakdancing, a sinuous silhouette, a ballerina, a hip hop wedding, a massive pillow fight — and some giant trousers that MC and OJ jointly inhabit.

"If you don't like the beat, don't play with the drum". Taken from Sharon O'Neill's 1983 album Foreign Affairs, the song chronicles "case 1352, a red and green tattoo". It was inspired by a prostitute who worked the streets of King's Cross. The clip starts with O'Neill hitting Auckland Airport. Look out for leopard skin tights and a dress straight off Logan's Run. Other highlights: a steamy sax solo, heavy eye shadow and backlit silhouettes in "rain-slicked avenues." Two clips for 'Maxine' exist: the Australian version won controversy for images of a fictional prostitute, shot in King's Cross.

Bold lighting and caterwauling guitars push this largely black and white performance clip above others of the era. Silhouette and strobing make for a mesmerising video that deserves a consumer health warning for those affected by flashing lights. After line-up changes and much remembered live gigs, the Christchurch noise-meisters ultimately morphed into Bailterspace.    

Directed by Jane Campion, An Angel at My Table is adapted from author Janet Frame's renowned three-part autobiography. It threads together a series of images and scenes to evoke Frame's dramatic life story. Originally made as a TV drama, the much-acclaimed dramatisation won cinema release in 35 countries; it established Campion as a global director, launched actor Kerry Fox, and introduced new audiences to the "mirror city" of Frame's writing. This excerpt follows Frame's life-saving escape from Seacliff Asylum, to first publishing success at Frank Sargeson’s bach.