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| no.55: Winter 2006 |
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All Features Great and Small
The Telecom 35th Wellington Film Festival presents the first results from a significant new venture by the New Zealand Film Archive with the screening of new prints of three classic feature films. Ngati, Patu! and Bad Blood have been reassembled and restored by Archive staff, Geoff Rogers and Louise McCrone, and laboratory specialists at Park Road Post. Later in the year, DVDs of three titles from the same era will be released by the New Zealand Film Commission.
The pilot phase of the Feature Restoration Project received funding from the Ministry for Culture and Heritage in last year’s Budget. The Project aims to find and preserve the feature films from the renaissance of New Zealand’s feature film industry in the 1970s and 1980s and prepare many of them for release on DVD. While less than 30 years has passed since these films were made, some have almost as many problems as much older films in the collection.
From its founding in 1981 the Film Archive told everyone who would listen that the country’s earliest film heritage was at risk of ending up as dust. These days the battle to find pre-1950 films made on cellulose nitrate film stock and transfer them to modern safety film is all but over. The Archive has saved around 1,000 New Zealand titles from oblivion and sent hundreds more back to their country of origin for preservation.
Unfortunately, the job didn’t end there. While nitrate film’s highly unstable chemistry and propensity for bursting into flames made it a candidate for urgent treatment, no film is forever. More modern stock also has its problems, with colours that fade and chemical deterioration of its own. Most threatening of all, though, is the tendency of some film makers to neglect their own creations. Films made as recently as 10 years ago – even feature films – can end up poorly stored, mislabeled or completely lost.
In 2002 Geoff Murphy, director of Goodbye Pork Pie and Utu, approached the Archive with a problem. The expanding DVD market was opening up opportunities for re-release of classic New Zealand movies, but it was also exposing just how many of them were incomplete or missing. His own films from the 1980s had been deposited into the Archive over the intervening years, but vital elements were missing or had been handed over in uncertain condition. He was better off than most; many titles from the period were not in the Archive at all and the majority of those that had been deposited were without the master negatives, intermediate materials or sound components needed to re-create them.
With government support and cooperation from the Film Commission, producers and laboratories, a full list of films from the era 1971-1989 was drawn up, documenting the whereabouts and condition of essential elements.
The Archive set about analysing its holdings and searching the world for absent items. A great deal of the material has now been located and brought together in the Archive’s vaults.
The task of restoring the films will take years and is heavily dependent on funding to meet the considerable technical costs involved, but if it can be done a major part of New Zealand’s cinema history will be saved for future generations.
— Frank Stark
The Films
Ngati (1987)
Described as the first feature film written and directed by Maori, Ngati was released to enormous critical and public acclaim, attracting international attention as a landmark in New Zealand cinema. The film features particularly notable contributions by writer Tama Poata and actor Wi Kuki Kaa, both of whom subsequently played major roles in the development of the Film Archive.
Patu! ( 1983)
Shot on the streets and behind the scenes by a number of independent cinematographers during the Springbok rugby tour of New Zealand in 1981, Merata Mita’s Patu! was summed up by the promotional line: “you may love it, you may hate it, you may even be in it”. The film caused an echo of the national upheaval of the tour itself when it was released two years later, and 25 years on the intensity of the confrontations it depicts is still extraordinary.
Bad Blood (1981)
This film was a co-production with the UK, but deals with a New Zealand event almost as disturbing in its time as the Springbok Tour – Stanley Graham’s shooting of seven men, including four policemen, on the West Coast of the South Island in 1941. While the film had a strong impact at the time of its release, it had been virtually lost to New Zealand until recently traced to a film laboratory in England.
Also screening:
Los Olvidados (1950)
Along with the three New Zealand features the Archive has collaborated with FIAF colleagues to secure a print of Los Olvidados (Mexico 1950) to screen at the Auckland and Wellington Festivals in a beautiful, brand new print courtesy of Filmoteca de la Unam (Mexico). Set amid the slums of Mexico City, the film follows a roving pack of abandoned street kids as they struggle to survive a typical day. Los Olvidados was Luis Bunuel’s comeback film, after two decades of virtual exile by the hostile response to L’Age d’Or, and won him the Best Director award at Cannes.
Shorts
Look out too, for five short films from the Archive’s collection which will screen along side features in the Festivals in Auckland, Wellington and Dunedin. The selection includes a newsreel item introducing the caravan – “the modern home on wheels”, the theme song and pledge of The Young New Zealanders’ Club and an advertising featurette urging people to enter the 1963 Young Miss and Young Mister New Zealand contest.
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Coming to a Town Near You
Interview with Jane Paul, the Film Archive’s National Programmes Manager
Publicist, Rebecca Adams talks to Jane Paul about her role organising the Archive’s touring film programme. Every year, Jane curates and presents screenings all around the country – from Kaitaia to Stewart Island, Westport to the Chathams.
What does National Programmes Manager do?
The main part is organising the Film Archive’s touring film programme. I answer enquiries, curate programmes, work out budgets, book the venues, all the details.
How much time do you spend on the Road?
In the old days of Travelling Film Show it was about six weeks a year. We need reasonable funding to travel so much. There’s usually two of us travelling, my workmate Johnny our fabulous technician and myself. There is a lot to do setting up the screen, the sound system, piano, DV projector... we cart a lot of gear around! The venues are all different – community halls, theatres, a couple of times we’ve shown movies in hotel bars, and once, actually on the Chathams, in a large tent...
Now it’s about three weeks on the road. We still do an impressive number of shows – 40 or more... most have been hosted by other organizations: Genealogical Societies, Heritage groups, Festivals, the Opotiki Silent Film Festival. We devise a wide range of programmes, for quite different audiences. Sometimes we show silent feature films (with live music), sometimes compilations of lots of different items of local interest, or something specific to a festival. I have great fun thinking laterally about what will work best for the audience. It’s very much a collaborative effort between the host organisation and myself... which works really well.
Why does the Film Archive put so much effort into taking films "to the
people"?
Part of what motivates us is that the films have come to us from the public, and I feel we have an obligation to make them accessible. A screening is a very satisfying way of doing that. Films are accompanied by a pianist, and presented by an Archive staff member. It’s fitting to give a spoken context, and live music is wonderful, it has the power of exaggerating all the emotions and drama of a film, and also gives a historical connection. Silent films were never shown silent, always with narration or music.
The other reason is we want people to know about their film history, there is a far greater understanding of NZ literature, or art (not to mention sport!) than film.
In the age of the blockbuster, what appeals about the Archive’s
collection?
The Archive’s collection is extraordinarily rich and full of surprises. While the blockbuster might spend 5 million recreating history... we’ve got glimpses of the real McCoy. It is a record of our social and political history, development and change. The collection is rich in home movies, newsreels, drama, documentaries and commercials
What sort of people host screenings?
Community groups, people who are organising festivals, or conferences, theatre managers, historians, councils, film societies.... a wide variety.
How can I get the Film Archive to my town?
Contact me, I can draft out a programme, give an idea of costs and also suggestions on where to access funding.
Jane Paul
National Programmes Manager
jane.paul@nzfa.org.nz
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Hari Huritau Ki a Witarina!
On May 15 in a chilly Rotorua, friends, family and 13 Film Archive staff members gathered at Tamatekapua to celebrate the 100th birthday of Witarina Harris.
As a young woman Witarina starred in the romantic drama Under the Southern Cross aka The Devil’s Pit, and later she became involved in the work of the Archive. As the Film Archive kaumatua, Witarina traveled to North America, Europe and the United Kingdom.
A screening of Under the Southern Cross (1929), with piano accompaniment from Tama Karena, brought a special smile to Witarina’s face and drew cheers and whistles from the enthusiastic crowd.
The screening was followed by a champagne breakfast at Rotorua’s Grand Tiara Hotel, where the entertainment continued into the afternoon.
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SEAPAVAA
The South East Asia Pacific Audio Visual Archives Association may be a mouthful but it covers a big area geographically from Myanmar in the west to French Polynesia in the east. Culturally diverse the membership includes Muslims, Buddhists, Christians and Hindu.
Member countries of SEAPAVAA include Australia, Brunei, Cambodia, Cook Islands, Fiji, Indonesia, Laos, Malaysia, New Zealand, Philippines, Samoa, Singapore, East Timor, Thailand, Vietnam. Associate membership has recently extended to the “ASEAN Plus 3” countries - Japan, Korea and China. Each now has an archive or affiliated organisation involved in SEAPAVAA.
The New Zealand Film Archive was a founder member of SEAPAVAA and has been represented on the Executive Council for the past decade.
SEAPAVAA shares valuable information with members through its website and list serve forums, training courses and its annual conference. Funding comes through subscriptions and from UNESCO.
Membership provides an important link between archives of many nations, some of which are facing the challenges met by the New Zealand Film Archive in its earlier years.
This year the 10th Annual Conference, is being held in Canberra from 12 - 17 November. The theme is The Visible Archive and will be focused on issues of access, advocacy and accountability asking questions such as; How should archives reach out to their communities,
How do we maintain the integrity of a collection while giving digital access to the public, How should archives position and project their identity and brand, and how can we use the media to advance our work?
The Conference in Canberra, which we are co-hosting with our Australian colleagues, will be held in The Shine Dome, an iconic 1950s building sometimes referred to as the Martian Embassy. On the Tuesday night the Archive will be hosting a NZ BBQ for delegates featuring (with special dispensation from the caterers) Kiwi wine and beer. We are looking forward to the conference which will bring archives across this quarter of the world closer in their efforts to preserve filmic culture. — Jamie Lean, Collection Development Manager and Secretary General, SEAPAVAA
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Tama Poata
Tama Te Kapua Poata (1936-2005), activist, trade unionist, filmmaker and mentor. The death of Tama was a great loss to Mäori and New Zealand, he was a kaumatua before his time and mentor to all who sought his assistance and advice.
A leader throughout the protests of the 1970s, most notably the 1975 Land March and occupations of Bastion Point and Raglan, Tama was instrumental in uniting Mäori groups and the anti-racist movements, (even suggesting the name HART Halt All Racist Tours) in the stand against the 1981 Springbok Tour.
Tama was a key member of Ngä Tama Toa and Mäori Organisation on Human Rights. His quietly spoken nature hid his wit and humour and a highly politicised intellect. Tama was a quiet revolutionary who advocated determinedly for change.
His involvement in the film industry included writing and associate producing Ngäti, the short film Te Ao Kapua, and documentaries such as Ngä Kara Me Nga Iwi. Holding strong views Tama patiently educated and enlightened all who spent time with him.
Tama became involved with the Film Archive in the early 1990s. His advice and guidance was invaluable during the development of the Archive’s bicultural framework. He was instrumental in establishing the constitutional amendment requiring an equal representation of Tangata Whenua on the Board of Trustees, of which he later became a member.
Over the years the Film Archive has accepted many invitations to attend international film festivals celebrating achievement in indigenous film such as the Festival of the Dreaming [Sydney, Australia 1997] and the Douarnenez Film Festival [Brittany 2001]. As a participant in Archive delegations, Tama was acutely aware of who and what he represented – not only the images and owners of those images but the hopes and dreams they conveyed. A tower of support to Archive staff, Tama discharged his responsibilities with dignity and passion, establishing ongoing relationships with indigenous peoples the world over.
A man of great mana, a rangatira in the true sense, Tama Te Kapua Poata’s influence will continue to be felt. His memory and legacy will live on.
Ë te rangatira, haere atu rä ki o täua tüpuna, hoki wairua mai ki a mätou e whai atu ana i muri i ä koe. Haere, haere atu rä.
— Huia Kopua, Kaiwhakahaere and Himiona Grace, Kaikohikohi
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Wi Kuki Kaa
Wi Kuki Kaa (1938–2006) was a scene stealer. You always knew when you were in his presence and behaved accordingly. Dynamic and engaging on screen or stage Wi Kuki’s famously expressive face told a thousand stories. A man of great mana, Wi Kuki posessed wisdom and a philosophical outlook. He was quiet by nature but when he spoke it was with a grumbling roar that left you no choice but to listen, learn and laugh!
Wi Kuki Kaa became involved with the Film Archive in the later part of the 1980s, primarily as an active member of Te Manu Aute, a collective of Mäori communicators committed to achieving control in their chosen crafts. Wi Kuki was approached by the Archive to participate in an advisory group convened to assist with the development of its bicultural mission. Over time a new framework incorporating a bicultural governance structure was put in place. Irihapeti Ramsden, Dick Grace and Wi Kuki Kaa were appointed to the Board and continued to work tirelessly encouraging the new direction.
Instrumental in the move toward biculturalism, Wi Kuki’s support did not end there. His understanding and knowledge of tikanga Mäori was invaluable, indeed crucial, when he toured with Film Archive staff on many outreach screenings, including Te Hokinga Mai o Ngä Taonga Whitiähua, a repatriation of images to tribal areas. During the numerous pöwhiri while touring the mötu, he delighted and entertained hünga kainga, forging and solidifying relationships between the Archive and the tangata whenua o Aotearoa. At times Wi Kuki could be delightfully irreverent, or cutting in his directness, nevertheless, he delivered the Archive’s quintessential message – the importance of preservation of images for the transmission of knowledge to future generations.
Wi Kuki’s acting career spanned decades and he is best known for his roles in feature films such as Utu (1983), Ngäti (1987), Te Rua (1991) and a recent cameo in River Queen (2006). He also starred in many short films including the hilarious Thunderbox (1989), Te Po Uriuri (2001) and Türangawaewae (2003). Television roles included Worzel Gummidge and Te Kai a Te Rangatira, a series in Te Reo Mäori.
He gave his all to his profession, drawing on his life experience and natural talent to captivate his audience. When Wi Kuki hit the screen the scene was his. Even if he had no lines, his presence was captivating.
Wi Kuki Kaa, rangatira, mentor and friend, you are remembered and greatly missed.
Kua hinga te totara i Te Wao Nui, moe mai ra i te moenga roa e hika. Haere atu ra ki Hawaiiki nui, Hawaiiki Roa, Hawaiiki Pämämao
— Huia Kopua, Kaiwhakahaere and Himiona Grace, Kaikohikohi
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A National Resource
How does an organisation so plainly based in Wellington claim to be a truly national resource? In the case of the New Zealand Film Archive it’s a matter of being extremely proactive. With a quarter of the Archive’s staff focussed on delivering and presenting material off-site researchers and audiences all over the country are taking advantage of what’s on offer.
Auckland
The Archive’s Auckland office is in the heart of the city, amongst numerous galleries and quirky stores on Karangahape Road. With a permanent staff of two there is never a quiet moment.
The Auckland office is heavily geared towards public access. The space is home to a library of reference books, periodicals, and over 1400 videos and DVDs. The Public Access Database (PAD), allows researchers and browsers access to the Film Archive's entire collection.
The office area includes an exhibition space where a variety of film related exhibitions are hosted. The Auckland Office works with a number of other institutions: an annual show with Elam School of Fine Arts; a long established screening programme in conjunction with the Auckland Museum; and various contributions to the Auckland City Art Gallery programme and Auckland Heritage Week.
One of the great successes is ViewFinder, a continuous moving image presentation at Auckland City Libraries. ViewFinder provides opportunities to emerging and established filmmakers and artists to exhibit their work in a challenging public environment. Such is the interest in the works developed for ViewFinder that the Archive now offers ViewFinder online.
Video Access
Since its launch at the Dunedin Public Art Gallery ten years ago, the Remote Video Access Network has grown to a total of eight regional sites located in art galleries, museums and public libraries throughout New Zealand.
Each site houses a permanent collection of up to 350 VHS tapes, offering a cross-section of New Zealand film and television history including short films, documentaries, advertisements, actualities and feature films, all available for free viewing onsite.
A local history section at each site includes newsreels, home movies and amateur dramas highlighting items specific to communities. Through this section, historians, students and genealogists can see for themselves how people have lived in their region and view footage of important local events.
Some video collections cater to specific interests, for example the Te Puna Toi Performing Arts Research Office site in Christchurch has films of interest to New Zealand theatre, film and dance students; the Govett-Brewster Art Gallery has an Art section featuring documentaries on, and work by, New Zealand artists; and Te Wananga-o-Raukawa site in Otaki focuses on material of interest to students of Te Reo and Tikanga Maori.
Researchers can use PAD onsite to search the entire Archive catalogue and request titles on interloan. A small courier fee applies for this service.
Plans are underway for moving the current remote Video Access Network model towards the use of digital media to access the collections. This direction provides potential for reliable, secure, quality playback with more adaptability for a wider range of host institutions. —
Watch this space for future developments.
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News Clips
Comings and Goings
The Film Archive welcomes new staff members, Mark Sweeney (Education), Shane Farrow (Collection Services), Dayna Kalinowski and Gabrielle Simpson (Front of House) and farewells Gus Boyd and Rupert Reynolds-MacLean (Front of House).
In May the Film Archive hosted student Emily Cawley from the University of East Anglia, United Kingdom. Emily worked at the Archive for three weeks as part of the MA Film Archiving Course.
Musical Notes
Former Composer-in-Residence, Dorothy Buchanan, is completing a seven-song cycle for the New Zealand Piano Quartet and Mezzo Soprano. The Cycle will be known as Under the Southern Stars and will premiere towards the end of 2006. And Len Lye Foundation have released a CD of ‘field recordings’ taken from Lye’s moving sculptures. Lye had encouraged the idea during his lifetime and said such a recording would contain “… some of the sharpest astringent zings of sound that ever cut the air…”
Tunnel Vision
Lissa Meridan, director of Lilburn Electroacoustic Music Studies and programme leader at NZ School of Music is working on a commissioned film/music project, ‘Tunnel Vision’, to premiere at an international Viola Congress in Montreal. In collaboration with video artist Emil McAvoy, Lissa selected clips from various films featuring the Fell engines on the Rimutaka Incline.
Web News
Visitors to the Archive’s website will have noticed some new features, the News Page and an online version of the Auckland-based ViewFinder – showing casing contemporary video art.
Alfred Geoffrey Scott (1908-2006)
Long-time Friend of the Film Archive and Manager of the National Film Unit from 1950-1973, Geoff Schott, passed away in May at the age of 97. Geoff was a tireless advocate for New Zealand film and will be sadly missed.
The Digger and the Larrikin Live On
An ANZAC conference hosted by the Imperial War Museum in London. The event attracted great audiences and included an opening address by the High Commissioner for New Zealand, The Right Honourable Jonathan Hunt, and ‘Digger’s Day – New Zealand’s Great War on Film’ a programme of films curated by the Archive and presented by Dr Chris Pugsley.
Fly My Pretties
In response to continuing demand Fly My Pretties will hit the road in July. Once again with a backdrop of Archive footage the show will be presented in Auckland, Wellington, Christchurch and Dunedin. The Return of Fly My Pretties DVD/CD is available for purchase at the Film Archive Coffee Bar.
Good Wishes
I send my warmest congratulations to Frank Stark and to the Film Archive on its anniversary. I remember the wonderful energy and enthusiasm of Jonathan Dennis at the time he was building support to establish an Archive and gathering advice from around the world. It was so timely and important that such an institution should be created in this country. Jonathan set a great example through his love of film, and he always brought to his work a rich sense of curiosity, aesthetics and fun. The Archive has done invaluable work over the years and I’d like to join many others in thanking all its staff and wishing the Archive well for the future.
— Roger Horrocks
Many thanks for all the work put in to assembling the clips for The Touring Film Show screened a the Empire Cinema, Wednesday 15 Feb 2006. I travelled down from Masterton to be present and was not disappointed. Keep up your efforts and keep your audiences as happy as the Island Bay one was. Well done,
— Margaret Rogers
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