scholarly journals Dear Dad… Brian Brake writes home to his father, Jack Brake

Author(s):  
Vickie Hearnshaw

This article draws on 20 postcards from a private collection which have only recently come to light, written by New Zealand-born photographer Brian Brake to his father Jack Brake in the 1950s, and therefore during the years when he was establishing himself as a photo-journalist. Although the collection is not large in number, the messages written on the backs of these postcards provide a wonderful opportunity to locate Brian Brake’s whereabouts during these years and retrace the significant events in his life at this time in his own words. Importantly, the postcards cover the critical period immediately prior to Brake undertaking the filming of his remarkable visual documentary, Monsoon, in India during the northern summer months of 1960. It would be this assignment that would establish his name as a world-class photo-journalist.

2021 ◽  
Author(s):  
Annika Sippel

<p><b>Francis Henry Dumville Smythe, a humble clergyman from England, spent a lifetime amassing his private collection of watercolours. During the 1950s, he decided to gift them to two art institutions in New Zealand – Dunedin Public Art Gallery and the National Art Gallery in Wellington. They were welcomed with open arms and celebrated as “the finest collection of water colour pictures in the Southern Hemisphere.” However, they soon fell out of favour: rarely exhibited, the collection remains poorly understood and unexplored to this day. Was their initial praise simply a matter of taste?</b></p> <p>This project looks at the rise and fall of the Smythe collection and aims to reveal the circumstances that led to its current low profile within its respective institutions. The collection itself will be analysed in depth for the first time, and the impact that changing artistic tastes have had on its status will be examined. In New Zealand’s case, these shifting tastes are symptomatic of the redefinition of national and cultural identity during the 1950s-1980s. How did this redefined national and cultural identity contribute to the continued drop in status of the Smythe collection in New Zealand? This dissertation considers the geographical contexts of both Britain and New Zealand and seeks to explore new ways of engaging with New Zealand’s public art collections, through combining the different research fields of watercolours, taste, and identity. While British watercolours are now mostly considered old fashioned, this thesis will find new ways of making them relevant again.</p>


2021 ◽  
Author(s):  
Annika Sippel

<p><b>Francis Henry Dumville Smythe, a humble clergyman from England, spent a lifetime amassing his private collection of watercolours. During the 1950s, he decided to gift them to two art institutions in New Zealand – Dunedin Public Art Gallery and the National Art Gallery in Wellington. They were welcomed with open arms and celebrated as “the finest collection of water colour pictures in the Southern Hemisphere.” However, they soon fell out of favour: rarely exhibited, the collection remains poorly understood and unexplored to this day. Was their initial praise simply a matter of taste?</b></p> <p>This project looks at the rise and fall of the Smythe collection and aims to reveal the circumstances that led to its current low profile within its respective institutions. The collection itself will be analysed in depth for the first time, and the impact that changing artistic tastes have had on its status will be examined. In New Zealand’s case, these shifting tastes are symptomatic of the redefinition of national and cultural identity during the 1950s-1980s. How did this redefined national and cultural identity contribute to the continued drop in status of the Smythe collection in New Zealand? This dissertation considers the geographical contexts of both Britain and New Zealand and seeks to explore new ways of engaging with New Zealand’s public art collections, through combining the different research fields of watercolours, taste, and identity. While British watercolours are now mostly considered old fashioned, this thesis will find new ways of making them relevant again.</p>


Author(s):  
Rosser Johnson

New Zealand television networks introduced infomercials (30 minute advertisements designed to appear as if they are programmes) in late 1993. Although infomercials date from the 1950s in the USA, they were unknown in this country and quickly came to be seen as a peculiarly “intense” form of hyper-commercial broadcasting. This article aims to sketch out the cultural importance of the infomercial by analysing historical published primary sources (from the specialist and general press) as they reflect the views and opinions that resulted from the introduction of the infomercial. Specifically, it outlines the three main areas where that cultural importance was located. It concludes by analysing the significance of the cultural impact of the infomercial, both within broadcasting and within wider society.


Author(s):  
Bain Attwood

This chapter focuses on historical writing in New Zealand and Australia, which has been transformed since 1945. In the 1950s and 1960s, as the number of academic historians increased exponentially and growing professionalization occurred, a project of constructing a progressive story of masculinist nation-making and nationalism became dominant, while in the 1970s and 1980s, a younger generation of historians—many of them women and first-generation Australians—challenged this triumphant nationalist story of self-realization as they embraced social and cultural history and their emphases on the differences of class, gender, sexuality, race, and ethnicity. There is one area in which historical writing in New Zealand and Australia has undoubtedly been distinctive, at least in terms of its public impact; namely, that concerning the pasts of the indigenous peoples. The chapter then looks at the historiography of aboriginal–settler relations in Australia and New Zealand.


2021 ◽  
Author(s):  
◽  
Marie Bell

<p>This thesis presents the voices of 17 pioneers of the organisation parents' Centre, founded in Wellington, New Zealand, in 1952. They reflect on Parents' Centre's contribution to the welfare and happiness of young children and their parents, and the challenges and satisfactions for them as 'movers and shakers' of an entrenched system. The pioneers, 13 women and 3 men, were a group of professionals and parents educated in the progressive tradition who worked as volunteers to found and develop the organisation. They challenged the well-established and generally respected views of the policymakers of the 1950s about the management of childbirth and parent education for young children. They believed that the education and care of the child from birth to three needed to be brought into line with the progressive principles and practices which had been gaining ground in the schools and pre-schools of New Zealand since the 1920s and which emphasised holistic development, especially the psychological aspects. Using Bronfenbrenner's ecological systems theory I set the study within the social climate of the 1950s to assess the contribution the changing times made to the success of the organisation. I identified the social and economic forces which brought change both in the institutions of society and within every day family life, particularly for young children and their parents. As researcher, I added my voice to their reflections while also playing the role of analyst. The study used an oral history method to record the stories of the participants from a contemporary perspective. My involvement in the organisation over 50 years gave me insider knowledge and a rapport with the people interviewed. Using a loosely structured interview I adopted a collegial method of data gathering. A second interview, two years after the first, informed the pioneers about my use of the interview material and gave opportunities for critical comments on my analysis. It became apparent that under the leadership of Helen Brew, parents' Centre was able to influence change. Analyses of the background of the pioneers and of the educationalists who influenced them in training, career and parenthood show that key influences on the pioneers were lecturers at Wellington and Christchurch Training Colleges and Victoria University of Wellington. The liberal thrust of these educational institutions reinforced similar philosophical elements in the child rearing practices experienced by the pioneers. Overall, the pioneers expressed satisfaction with the philosophies and practice they advocated at that time, their achievements within Parent's Centre, and pride in founding a consumer organisation effective for New Zealand conditions. They saw Parents' Centre as having helped to shape change. This study documents the strategies used by Parents' Centre to spread its message to parents, policy makers and the general public. At the end of the study the pioneers were in agreement that the change in the role of women, particularly as equal breadwinners with men, presented a challenge to the consumer and voluntary aspects of the organisation of Parents' Centre today. Some felt the organisation had lost its radical nature and was at risk of losing the consumer voice. Nonetheless, all the pioneers felt that Parents' Centre still had a part to play in providing effective ante-natal education 'by parents for parents' and a continuing role in working for change in the services in accordance with the needs of parents and children under three.</p>


Tempo ◽  
2017 ◽  
Vol 72 (283) ◽  
pp. 56-79
Author(s):  
James Gardner ◽  
Christopher Fox

ABSTRACTIn 2002 Christian Wolff was a guest composer at the Huddersfield Contemporary Music Festival and during the course of the festival he was interviewed by Christopher Fox and by James Gardner. Fox's interview took place before an audience in the Lawrence Batley Theatre on 25 November; Gardner's interview was recorded in private in the George Hotel, Huddersfield on 27 November, and edited excerpts from that recording were subsequently used in a programme produced by Radio New Zealand. The conversation presented here has been compiled by James Gardner from his transcriptions of the two interviews and presents a wide-ranging discussion of Wolff's musical preoccupations across every phase of his compositional career, from the early piano pieces of the 1950s, to his involvement with indeterminacy in the 1960s, to the political concerns evident in his music after 1970, to the works of the last three decades in which indeterminate and determinate methods of composition are combined.


2019 ◽  
Vol 44 (4) ◽  
pp. 413-430
Author(s):  
Chris Brickell ◽  
Fairleigh Gilmour

While numerous historians have questioned the assumption that the 1950s were wholly conservative in terms of gender politics, few have systematically explored the nuances of debates over motherhood in particular. This article asks how depictions of motherhood in two popular New Zealand magazines reflected multiple voices that spoke of the complexities of mothers’ experiences and broader ideologies of motherhood during this era. It develops the concept of “dialectics of motherhood” in order to account for the interwoven ways in which sophisticated debates over “good” and “bad” mothers helped to propel social changes that led to the second-wave feminist movement.


1958 ◽  
Vol 95 (4) ◽  
pp. 297-304 ◽  
Author(s):  
Alan Norval Carter

AbstractA sequence of eleven faunal units characterized by pelagic foraminifera and embodying thirteen significant events has been recognized in the Tertiary of Victoria. They form a continuous sequence from the Upper Eocene to the Middle Miocene. Some of these events have been recognized in the same order in New Zealand, Europe, North America, the Caribbean region, and Saipan.


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