This edition of the 60s Sunday night magazine show travels to New Zealand’s most active volcano: White Island, situated offshore in the Bay of Plenty. The thermal activity on the privately owned scenic reserve is vividly captured as the camera roams the roaring, shuddering landscape and ventures past seething fumaroles into the crater. The tenuous history of human engagement with ‘Whakaari’ is covered: from Maui and Māori myth to the derelict remains of sulphur mining; including a 1914 eruption that killed 11 miners (with their black cat the only survivor).
This 1952 film ventures off the Bay of Plenty coast to New Zealand’s most active volcano: White Island. The National Film Unit production joins a team of DSIR scientists, supposedly the first humans in more than a decade to to view this “fantastic laboratory of nature”. They camp in the ruins of a sulphur mill, where the acidic fumes have disintegrated factory engines. Steam in fumeroles destroys thermometers — “mapping the land brings the party to many a scene like this: a scene from The Inferno”. Elsewhere, gannets nest, defying the inhospitable environment.
Writer Janet Frame (1924 - 2004) is an icon of New Zealand literature; her 'edge of the alphabet' use of language has seen her acclaimed as "one of the great writers of our time" (San Francisco Chronicle). This collection celebrates Frame's life and work on screen, from applauded Vincent Ward and Jane Campion translations to a rare TV interview with Michael Noonan.
This six-part series about Aotearoa's flora and fauna marked the first set of documentaries to be made by the BCNZ's freshly born Natural History Unit. The 15 minute episodes showcase White Island, bird life in Ōkārito, the flightless takahē, Waipoua Forest in Northland, wetlands near Dunedin and winter wildlife in Central Otago. Many of the filmmakers went on to make a mark — including directors Neil Harraway and Robin Scholes, and cameraman Robert Brown (The Living Planet). Hidden Places - Ōkārito was named Best Documentary at the 1979 Feltex Television Awards.
Presented by Kenneth Cumberland, Landmarks looked at New Zealand history through the landscape — and at man "coming to terms" with it. In this episode Aotearoa's "last, lonely, remote" geography is framed as a stimulus for ingenuity. A narrative of "triumph over the elements" finds its flagbearer in the DIY story of jetboat inventor Bill Hamilton. Cumberland is donnish but game in pursuit of telling landmarks: exposing seashells alongside the Napier-Taupō highway (700 metres above sea level) like a downunder Darwin, or in a gas mask on an erupting White Island.
In Haka Māori myth is re-told through a series of stirring haka performances. Men stomp, invoke, and do pūkana (tongue out, eyes wide) amidst spitting mud and fire and ... in Paremoremo Prison and under a motorway. These scenes are intercut with archive imagery of post-pākehā Māori life, from first contact to Maori Battalion, urban drift and protest. The film is a tribute to the raw power, and art, of haka. Ultimately the Once Were Warriors-like message "is positive because of the fierce, irresistible pride of the performances." Peter Calder, (NZ Herald, 1989).
This 1955 film looks at the “savage” geology of the North Island volcanic region, and its human settlement. Te Arawa myth introduces the steaming valleys of volcano and quake god Rūaumoko. The film then surveys geothermal activity and its exploitation by Māori and Pākehā, from cooking to heating hospital radiators. It ends with a dramatic geyser display in front of tourists. Guide Rangi cameos. It screened at the Edinburgh Film Festival, and was John Feeney’s last National Film Unit gig before directing Oscar-nominated films for the National Film Board of Canada.
This collection celebrates all things equine on New Zealand screens. Since the early days of the colony, horses have been everything from nation builders (Cobb & Co) to national heroes (Phar Lap, Charisma) to companions (Black Beauty) to heartland icons. Whether work horse, war horse, wild horse, or show pony, horses have become a key part of this (Kiwi) way of life.
From the icons (Sky Tower, Otara Market, Rangitoto, The Bridge), celebs, clans and stereotypes (Jafas), to the streets (Queen St, K Road), and Super City suburbs (Ferndale, Mt Raskill, Morningside), this collection celebrates Auckland onscreen. Reel through the moods and the multicultural, metro, muggy charms of New Zealand’s largest city. In this backgrounder, No. 2 director Toa Fraser writes about Auckland as a place of myth, diversity and broken jaws.
Train enthusiast David Sims captured the dying days of steam trains in this 1968 National Film Unit short. It features arresting images of a Kb class locomotive billowing steam as it tackles the Southern Alps, en route from Canterbury to the West Coast. Kb Country was released in Kiwi cinemas in January 1968, just months before the steam locomotives working the Midland Line were replaced by diesel-electrics. Sims earned his directing stripes with the film. As he writes in this background piece, making it involved a mixture of snow, joy and at least two moments of complete terror.