Serious shorts features five short New Zealand films presented as a video and text package specifically designed for visual language teaching from years 10 to 13.

A public lecture delivered by Professor Joseph Lo Bianco. New Zealand developed Aoteareo: Speaking for Ourselves in 1992, a discussion paper that considered issues of language status, use and equity. The ideas were not adopted by the government of the time. Today we are an ethnically and linguistically diverse nation – is it time to again consider the value of a national languages policy? Why should Aotearoa New Zealand invest in producing a national language policy? What does a country gain by making decisions about communication in a national and rational way? Language issues are usually left to specialist agencies or to specific interests, but do we need a more encompassing and coordinated approach that can develop a multilingual language policy fit for all in our diverse nation, a policy that is based on evidence based research rather than ideology? A national language policy would provide benefits to New Zealand society by encouraging common goals about citizenship, cohesion and justice for its people. Professor Joseph Lo Bianco, a world authority on language policies, draws on 35 years of engagement on national language planning with a range of societies to offer his views on the way forward for Aotearoa New Zealand. Professor Joseph Lo Bianco from the University of Melbourne wrote the first multilingual national language policy in an English speaking country in 1987. National Policy on Languages was adopted by the Australian government as a comprehensive national plan to cover all of Australia’s language needs and interests (English and English literacy, and English as a second and foreign language and languages other than English (including Indigenous language rights, immigrant and foreign languages) as well as language services (research, translating and interpreting, public media). These events are organised by AUT in partnership with TESOLANZ, Asia New Zealand Foundation, COMET Auckland, NZALT, Victoria University of Wellington and Royal Society Te Apārangi.

The first video shows how tattooing in Samoa changed forever with the arrival of the volunteers.

Agenda https://www.victoria.ac.nz/stout-centre/about/publications/ANC-Centenary-Conference-programme-.pdf

Agenda https://www.victoria.ac.nz/stout-centre/about/publications/ANC-Centenary-Conference-programme-.pdf

Agenda https://www.victoria.ac.nz/stout-centre/about/publications/ANC-Centenary-Conference-programme-.pdf

Agenda https://www.victoria.ac.nz/stout-centre/about/publications/ANC-Centenary-Conference-programme-.pdf

The story of tapa - from the time the first mulberry seedlings were bought to the Pacific by Indonesian travellers to the present: its manufacture and decoration, its religious, cultural, artistic and economic significance. Tapa is made in Tonga, Samoa and in parts of New Zealand. The video follows the manufacture and decoration of the tapa, mainly in Tonga and Samoa, and brings out the symbolism and history of the patterns in each culture.

Shows how education in health and physical education can contribute to the education of young people who are spirited, who have vision and purpose, and who love life. Also shows how the board of trustees has a vital role to play in achieving this goal.

A compilation of news items on the day of Nelson Mandela's Inauguration

Naudé Steyn I/V with Linda Clark on his new Appointment as SA Ambassador to Australia and NZ. 13 April 1994. Also on VA_02987_02 Michael Beurk - Documentary on Nelson Mandela. BBC Panorama 11/04/1994

Teuane Tibbo, who began painting at the age of 69, was one of the earliest Pacific painters recognised by New Zealand’s mainstream art scene. Her work was influential in the 1960s and early 1970s. Tibbo grew up in Samoa. She lived in Fiji with her second husband, and with her family (which included eight children) moved to New Zealand in her 40s. This video features Tibbo talking about her artworks, and was likely made in 1973.

Rangimarie Hetet and her daughter, Rangituatahi Te Kanawa, of Ngāti Maniapoto, talk to Tilly Reedy and demonstrate their skills as they gather and prepare harakeke for work on piupiu, korowai and tāniko border. Other women are instructed in the weaver's craft. Rangimarie and Rangituatahi discuss the innovations and changes which have influenced their art.

Footage of the Cover to Cover Bookworks Exhibition by the Association of Women Artists at the Outreach Cultural Centre from October 1st to 12th 1990. Video made by Claudia Pond Eyley. The following text is from the foreword of the exhibition notes, written by Claudia Pond Eyley and Beth Serjeant - "This exhibition of bookworks, the second to be mounted by the Association of Women Artists, is an indication of the growing interest in New Zealand of this expanding field. As seems to be happening internationally the books themselves are constantly exploring new ways of communicating, sharing and storing ideas/concepts, meshing media too. This year we have an increasing number of book objects to tease, taunt and test those who are prepared to spend time to browse through the exhibits. A hands on policy is the best way to view books, we ask you to please wear the gloves provided and to treat each volume gently - after all "Books mirror people!" (Slivca)" Artists in the show include: Caroline Bensinger, Joan Buller, Barbara De Mora, Val Cuthbert, Zena Abbott, Chris Massey, Claudia Pond Eyley, Adrienne Rewi, Dawn Pearce, Pamela Brooks Corbett, Maggie Taylor, Virginia King, Elizabeth Steiner, Lesley Kaiser, Sandra Morris, Berwyn Hartley, Kowhai Intermediate School Tamsin/Gil Hanly, Julie Ryan, Nicola Shanley-Nest, Catharina Kenkel, Daniella Aleh, Joan Travaglia, Lola W. Badman, Christine Hellyer, Helen Schamroth, Hilary Kerrop, Sylvia Siddell, Janette Craig, Maureen Zandorigo, Rachel Butler, Catherine Crooks, Charlotte Fisher, Carole Shepheard, Elizabeth Serjeant, Jude graveson, Jill Godwin, Donna Campbell, Chiara Corbelletto, Emily Siddell.

This National Film Unit documentary records the 18-month-long building process of a waka taua (war canoe): from the felling of the trees — opening with an awe-inspiring shot of the giant totara selected by master carver Piri Poutapu — to the ceremonial launch. The waka was commissioned by Māori Queen, Te Arikinui Dame Te Atairangikaahu, and built at Tūrangawaewae Marae. The Harry Dansey-narrated film was significant in showing the importance of the canoe-building kaupapa alongside the everyday lives of the workers (at the freezing works, the pub).

Recording of Christine Hellyar delivering a seminar in 1990 at the University of Auckland on women in art. She discusses Louise Bourgeois, Chryssa Vardea-Mavromichali and Eva Hesse.

The enormous significance to Māori of marae, as places of belonging where ritual and culture can be preserved, is explored in this Pita Turei-directed documentary. Made in conjunction with the NZ Historic Places Trust, it chronicles the programme to restore marae buildings and taonga around the country — and the challenge of maintaining the tribal heritages expressed in them. As well as visiting some of NZ's oldest marae, one of the newest also features — Tapu Te Ranga, in Wellington’s Island Bay, which is being built from recycled demolition wood.

Interview and studio visit with performance artist Philip Dadson.

Interview and studio visit with artist Jim Allen.

Awards Ceremony for National Orders, Republic of South Africa with Trevor Richards receiving the Order of the Companion of O.R. Tambo (Gold).

This was recorded as a message for the New Zealand Nelson Mandela Trust. He talks about his world tour and the subject, "Confronting the past and creating the future: the road to truth healing and reconciliation in South Africa".

This documentary provides a look at the life and times of Mexico's most famous woman painter, Frida Kahlo. This film portrays the artist's life in the famous "Blue House" outside of Mexico City that she shared with her husband, the famous muralist and painter Diego Rivera. A near fatal bus accident, years of traumatic surgery, and endless heartache left Frida Kahlo devastated, relentlessly transferring her physical and emotional pain to the canvas. Readings from her diaries, archival photographs, and film footage offer an intimate portrait. Narrated by Sada Thompson and commentary written by Hayden Herrera, this documentary explores Kahlo as the center of the Mexican renaissance of the 1920s and 1930s. Not just as an artist, but as a tragic figure as it follows her painting career, her growing interest in politics and her turbulent relationship with her husband, Diego.

Demonstration of Tongan tapa making by the Kahoa Tauleva Trust at Auckland City Art Gallery, January 1985. Produced by AVRT: Artwork Video Resource Team, a project of the Auckland City Council, The Northern Regional Arts Council, The Labour Department.

Profile of artist Fatu Feu'u. Produced by Justine Simei-Barton as part of a Diploma in Broadcast Communication and Production for the University of Auckland in 1990. Includes interviews with Hamish Keith, art consultant for the Aotea Centre, and Dr Roger Green, Anthropology Department, University of Auckland.

This screened at the Auckland Domain during the 1995 Commonwealth Heads of Government meeting in Auckland, 10 - 13 November 1995.

Juliet Batten talks to Priscilla Pitts about The Menstrual Maze, a women's collaborative art environment Juliet initiated and facilitated in Auckland, June 1983. The project was supported by the Northern Regional Arts Council. The artists involved were Juliet Batten, Katrina Berntsen, Susan Clark-Mabee, Juliet Cooke, Lidija Cukor, Rose Fidler, Claire Johnstone, Janice Jones, Gill Matthewson, Helen Pollock, and Helen Todd. This video was produced in November 1983.

A discussion about painting and carving in New Zealand, and how these forms of art making have impacted on New Zealand's cultural identity. This film is based on W.L. Renwick's paper 'Emblems of Identity: Painting, Carving and Maori-Pakeha Understanding', which was originally delivered as a keynote lecture to an international educational congress in Adelaide in 1978. It is narrated by actor Grant Tilly, accompanied by the same images used to illustrate Renwick's lecture. An accompanying booklet for the film is available online: https://www.victoria.ac.nz/stout-centre/research-units/towru/publications/Emblems-of-Identity.pdf

Recording of the stage production "The Reason For Breakfast", performed by The Front Lawn at the Court Theatre in Wellington, 1986. it was performed as part of the International Arts Festival. Don McGlashan later described The Reason for Breakfast as "a piece about forgetting the simplest ritual, about how terrible losing that flimsy fabric that makes us human might be if we were to forget it. It's also about what happens in a place like New Zealand where kids can grow up in an absence of ritual, an absence of behaviour that has meaning in other parts of the world."

Video of a memorial exhibition of Paul Beadle's work with speeches by Selwyn Muru, Nicolas Tarling, Michael Dunn, Marte Szirmay and Betty Beadle. Camera by Robert Ellis.

In an unnamed subdivision in Auckland, the residents of a newly created street discuss the problems and advantages of life lived in such a suburban environment.

NZ feminist documentary from 1977. It is a reflection of the female gendered socio-economic times of post-1950s New Zealand. I Want To Be Joan was made through editing conversations with women who attended the United Women’s Convention in Christchurch in 1977. It was a venture of involvement, and its creation has become a significant experience in many women’s lives. The purpose in making the film was to document the reality of women’s oppression, and to use that as a basis for discussion. There are examples of fine art from painters, Jacqueline Fahey, Robin White, and Lynne Zylstra, and Rachel McAlpine reads her poem, This is me Sheila. The six interviewees in the film were selected from twenty-two original interviews.

An introductory study of common practice of Fai Kava in the Kingdom of Tonga. Video taken in Summer 2012 throughout the Island Kingdom. This is the 2nd edition to a previous film 'Fai Kava Tonga: Men's Groups in the Island Kingdom', from the University of Utah.

University of Auckland Tuākana Mentors and Students in the Faculty of Arts respond to the upcoming Disney film Moana.

A group of Auckland Uni Students, Tuākana Arts Mentors, and Scholars share a variety of views in response to trailers of Disney's Moana. They push beyond them in the Spirit of Maui, working with the global interest for mainstream pop-culture and media, in order to share some complex Indigenous perspectives and stories of Moana (Oceania - Place/People).

Video coverage by TV3 Samoa of the launch of the book, 'To Walk Under Palm Trees – The Germans in Samoa: Snapshots from Albums' at the Robert Louis Stevenson Museum, Vailima, Apia, Samoa, on the evening of 21 April, 2017. The book was published by the Samoa Historical & Cultural Trust. Speakers include the Head of State Tui Atua Tupua Tamasese Ta'isi Efi; the Trust chairman, Mr Hans Joachim 'Joe' Keil; author Tony Brunt; the Reverend Motu Maauga; with Master of Ceremonies, Mr Tupa'i Klaus Stunzner.

In the middle of "No Man's Land", soldiers bring a wounded man home. Competed in the short film contest Tropfest NZ in 2015.

Witness the team spirit arising from community work in Papua New Guinea. Kanu belong Keram shows the power of group work by documenting the building of a huge canoe and its transport to the Keram riverbanks. Co-produced by Museum der Kulturen Basel for their exhibition 'BIG things interpretations dimensions'.

Vaha Tu'itahi, a graduate of the Master's program in Pacific Studies at the University of Auckland, gives a brief summary and introduction to his thesis: Tu'itahi, V. (2016). Fatufatu fala 'i fale lalava: intellectual property vs. indigenous knowledge. Master's thesis, University of Auckland, New Zealand.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Crosscurrent is a collection of spoken word poetry by Craig Santos Perez that explores Chamorro, Micronesian, and Pacific Islander cultures, histories, politics, ecologies, and migrations.

Could Robin have murdered his children and then taken his own life? Robin had blood and bruising on his hands. His foot size was more likely to fit bloody footprints in the house. Was a mysterious note left on the family computer Robin’s final words?