The blog of New Zealand’s Audiovisual Archive
Was Rewi’s Last Stand marketed in relation to WWII? What did American audiences make of Utu? Who played all the extra soldiers in Utu? What was in the lost 49 minutes of Rewi’s Last Stand? Research student Caitlin Lynch writes about her use of Ngā Taonga’s documentation archives for her Honours dissertation.
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Lawrence Wharerau traces the history of Otaki’s early film industry in an article originally published in Otaki Today.
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Sarah Johnston has selected some recordings from the sound archive in which New Zealanders recall the end of World War One in November 1918.
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University of Leeds PhD student Emily Kate Timms, visited Ngā Taonga Sound & Vision in Wellington to delve into stories about Māori elders. She reflects on some of the rich and powerful material she discovered, as well as the importance of the presence of “cinematographic kaumātua” in our film and television history.
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Merata Mita is remembered as an influential director and producer, and a pioneer of Māori filmmaking. Her son Hepi Mita has worked at Ngā Taonga Sound and Vision for the past 6 years. His film Merata: How Mum Decolonised the Screen premieres at the 2018 New Zealand International Film Festival.
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Access project developer Emma Richardson takes a look into the history of Ngā Taonga Sound & Vision’s Wellington building, Te Anakura, and its place within Te Aro.
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Wellington may have enjoyed an unusually-splendid summer this year, but three Victoria University Māori Studies students have not seen a lot of the sun. They spent their break from late November until late February in the Taranaki Street offices of Ngā Taonga Sound & Vision. With headphones fixed to their heads they passed the summer listening to the voices of tūpuna, recorded many decades before they were born.
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Thanks to tinted film stock silent movies weren’t always black and white! Diane McAllen writes about a recent project to preserve Rudall Haywards ‘community comedy’ A Daughter of Christchurch in the vivid blues, pinks and oranges that would’ve been seen by audiences in the 1920s.
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Waitangi Day has often been a time for powerful oratory. Here’s an example from New Zealand’s 150th Anniversary celebrations in 1990, made on Waitangi Day by Bishop Whakahuihui Vercoe, with a little scene-setting commentary by Hēnare Te Ua.
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The sound recordings made at pōwhiri in January 1946 to welcome home the men of the (28) Māori Battalion, are the focus of a new online exhibition launched this week by Ngā Taonga Sound & Vision, Te Hokinga Mai o Te Rōpū Rua Tekau mā Waru.
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