Story the Anika Moa

AND THE TRUTH THE AND THREE CHORDS THREE

ISSUE 35 ISSUE AUSTRALIAN SCREEN EDUCATION SCREEN AUSTRALIAN GERALDENE PETERS 1 STUDYGUIDE ‘Country Music is three chords and the truth.’ Harlan Howard ‘All you need for the Blues is three chords and the truth.’ Ray Charles (The Sir Charles Blues Lab) ‘All I got is a red guitar, three chords and the truth.’ Bono improvising Bob Dylan’s ‘All Along the Watchtower’

INTRODUCTION

hree Chords and the Truth: the Anika Moa is Anika Moa’s story. The narrative incorporates Story (TCT), is a documentary tracking aspects of music video aesthetic to the extent Tthe path of musician singer/songwriter that, somewhat paradoxically, non-narrative Anika Moa from the release of her fi rst album music videos end up contributing to the docu- Thinking Room in the United States (after her mentary narrative. Although TCT does work to initial ‘discovery’ by the Managing Director of educate, inform, persuade, and is interested Warner Music in New Zealand), to the subse- in issues that challenge the status quo, the quent process of reconciling her values and life documentary also has an eye to the aesthetic in Aotearoa/New Zealand with the implications pleasures of the text. of signing to a major global record label—some- thing Anika implicitly talks about in terms of Directed by Justin Pemberton, TCT was pro- ‘keeping it real’. duced by ‘The TV Set’, an Auckland-based production company of three directors set up ‘I’m just really scared of Americans, I’m scared to bypass the loss of directorial control over of the whole market, I’m scared of representing projects that can sometimes occur within larger my country in a false way.’ production companies. Ostensibly a biographi- Anika Moa in New York City (segment 1) cal documentary, the vision and life of the direc- tor and his collaborative relationship with Anika TCT fi ts the generic parameters of documentary Moa suggest there are also autobiographical made for New Zealand television (specifi cally, dimensions to the documentary. TVONE). It was originally funded by NZ on Air for the Documentary New Zealand (DNZ) strand, This study guide has been written with close but will instead play during primetime within a attention to NCEA Levels 1-3 Achievement dedicated one-off slot for New Zealand Music Standards for the discipline strands of Eng- Month (Friday 8 May, 8.30pm). The broadcast lish, Media Studies and Social Studies. As a of TCT is timely, given the media attention since resource, it is designed with fl exibility in mind, late 2003 paid to local crossover/pop artists recognising the productive possibilities of cross- such as Hayley Westenra, Brooke Fraser and disciplinary exchange between English, Media Bic Runga—young women with very different Studies, and Social Studies. For convenience ISSUE 35 ISSUE 35 profi les and each at various stages of ‘success’ sake, the Study Guide has been divided into two within the global music industry. sections: 1. Genre & Narrative (English/Media AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Studies), 2. ‘Keeping It Real’: Identity Formation Different cameras document stages of Anika’s (Social Studies). It is expected that teachers will journey over a twenty-month period, and the be able to modify exercises to suit each level story is largely told through montage, music and/or discipline strand. Where relevant, this tracks, ‘Voice of God’ narration, and interviews. Guide also makes reference to online resources Anika’s interview audio is also used extensively for Media and Visual Language Studies in the over images, taking on the function of narra- New Zealand Curriculum. tion and underscoring the extent to which this 2 3 ISSUE 35 ISSUE 35 AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION

2 3 Genre & Narrative

ENGLISH (Achievement Standards) 1 Level 1.5: Show understanding of a Visual Text (2 Credits). External. • Level 2.5: View, study, analyse Visual Text (3 Credits). External. • Level 3.4: Respond critically to Visual Text (4 Credits). External. MEDIA STUDIES (Achievement Standards) Level 2.2: Closely read an unfamiliar text (3 credits). Internal. • Level 2.3: Demonstrate understanding of messages, values and representations within media text (3 credits). Exter- nal. • Level 2.4: Undertake a media genre study (3 credits). External. • Level 2.5: Explain the use of narrative conventions in media text (3 credits). Internal. • Level 3.2: Explore the language of a medium and various readings of texts within a medium (4 credits). Internal. English / Media Studies

hree Chords and the Truth is a genre-rich the generic specifi city of each program type. text—particularly useful for the way in John Fiske cites Peter Wollen who picks up Twhich television documentary is offset on the relationship between music video and by music video. Importantly, Justin Pemberton advertising suggesting that, ‘where the visuals also directs music programming and fi rst put the act as an ad … the soundtrack is an example of idea of a documentary to Anika when he was the music commodity’.1 The commercial music fi lming aSmokefree Rockquest fi nal for TVNZ. industry relies on selling records, and the mar- While making the documentary, he directed keting of the artist is inseparable from marketing three Anika Moa music videos. ‘Falling In Love the music. At the end of segment 1, we hear Again’ and ‘Mother’ are two that appear in the Anika’s voice-over a photo shoot montage: ‘I sat documentary. there and I’m selling myself in a totally unreal way, and kind of like tolerating the situation ‘cos • The New Zealand Film Archive has cop- I felt that if I don’t do it then I won’t be released, ies of Anika Moa music videos for ‘Good or I won’t be successful …’ Elsewhere, she In My Head’ (2001) and ‘Falling In Love comments: ‘There’s Anika’s album, and then Again’ (2002), as well as a ‘20/20’ item there’s Anika. She’s got make-up on and fl ash on Anika Moa. Details for enquiries about clothes, but her album doesn’t sound as though secondary school access are available at: she’d be someone with make-up on and fl ash http://www.fi lmarchive.org.nz/education/ clothes … people think I’m someone different, education.html and it’s all because of the media hype.’ • Online Film and Video Language Resources http://english.unitecnology.ac.nz/resources/ Commercialism provides a link between the units/piano/fi lm_terms.html genres insofar as it can be said that television http://english.unitecnology.ac.nz/resources/ documentary is an institutional genre shaped by resources/fi lm.html the commercial parameters of a ratings-driven • The ‘Moving Images’ series of links in Ex- medium. Accordingly, TCT, has been structured ISSUE 35 ISSUE 35 ploring Language: A Handbook for Teachers into fi ve segments to accommodate ad breaks. Following Raymond Williams, advertising can be AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Topics discussed include: lighting, sound, seen to merge with the program, as part of the composition, grammar, editing, special ‘fl ow’ of television programming. effects, storyboarding http://english.unitecn ology.ac.nz/resources/resources/exp_lang/ • Watch the broadcast of TCT, and identify home.html the ads that play through the documentary. What are the connections between prime Contrasting Music Video with Television Docu- time and the relationships between target mentary is a useful way for students to clarify audiences for advertisers, and the target 4 5 ISSUE 35 ISSUE 35 AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION

4 5 audiences for the documentary? To what 2instructworks/3editing_doc/ 3docedit_ extent do the content of the ads comment scriptmpl/docanaly.doc on the documentary, and vice versa? What http://faculty.uml.edu/phaines/42.232/ is the relationship between the music and tablestyleanalysis.htm visuals in the ads that you watch? Can you • How does editing, cinematography, and art think of any ads that are shot and edited direction contribute to the meanings of, or like music videos? What are some of the moods evoked by the music video? What pleasures that watching music videos of- are the number of different ways in which fer, and to what extent do these pleasures Anika’s identity is structured through the transfer to watching ads? How would you videos? compare your experiences watching music • In preparation for the next activity, it would videos, and your experiences watching ads? be useful for students to watch music videos How does watching music videos and ads of younger women artists on the music differ from your experience of watching the channel C4. http://www.c4tv.co.nz/ documentary? Students can choose four or five music vid- • Identify other scenes within the documentary eos, and apply questions from the preceding where commentary is made on the market- exercise to them. ing of ‘Anika’. How many different perspec- • Storyboard a music video for one of Anika’s tives on marketing ‘Anika’ are there? Does songs. (The templates below can be adapt- TCT have a point of view about marketing ed to include lyrics for the songs, which are Anika, and if so how does the documentary readily available online). represent the different perspectives in order http://english.unitecnology.ac.nz/resources/ to persuade the audience about its point of units/movies/storyboard.html view? http://english.unitecnology.ac.nz/ resources/resources/exp_lang/classroom_ MUSIC VIDEO approach.html • Using film language, and taking into account Peter Galvin, the Vice President of Product the ideology of gender representation, com- Development at Atlantic Records, talks about pare the video you’d like to make, with the the need for mild sex appeal in the marketing music video ‘Falling In Love Again’ critiqued of artists and their music. In what ways, and to in the documentary. what extent is this a feature of Anika Moa music • The CD Cover Design Unit provides a videos? complementary set of exercises focusing on semiotics and analysis of the static image. As John Fisk points out, the relationship be- Hyperlinks to the ‘planner sheet’ and lyrics tween image and identity is not fixed in music are particularly useful. video. It’s a genre that stimulates fantasy, where http://english.unitecnology.ac.nz/resources/ images are cut to the beat and often bear no re- units/covered/home.html lation to the lyrics.2 Generally, it is the exception for music videos to pay MONTAGE attention to narrative structure. Aside from the incorporation of • Using film language, music video sequences, aural analyse the visual and and visual sequences play a key aural components of role through the course of the an Anika Moa music documentary. So much so that video. Tem- montage might be considered ISSUE 35 ISSUE 35 plates for shot a stylistic feature, but analysis are one with a purpose to AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION available at: advance the narra- http: tive. As with other //www.chic editing techniques agomediaw such as intercut- orks.com/ ting sequences, montage is used to comment on 6 7 themes of identity, transition and ‘place’, the study_it/spellbound.pdf marketing of Anika, and her refusal to conform • Gary Simmons’ comments on the relation- to a type. The aesthetic vision and music video ship documentary bears to reality, tech- background of Justin Pemberton is apparent niques of representation, point of view, and by the way in which montage and music video structure are salient to an analysis of TCT. In aesthetics sit next to observational footage, and addition to his points, it is worthwhile noting ‘talking head’ interviews. In addition, the offl ine that the use of this Study Guide will be more editor for the documentary, Bella Erikson, is also effective if the hybrid characteristics of genre a music video editor. are assumed. • The following Unit emphasises the under- • Some fi lmmakers contend that the writing standing of documentary as ‘constructed re- of a documentary largely occurs at the edit ality’ and would complement the Spellbound stage. Use this axiom as a starting point for Study Guide. http://english.unitecnology.ac.n classroom discussion of the editing proc- z/resources/units/documentary/home.html ess, editing techniques and the editing style • Watch TCT next to a documentary in the of TCT. The editing section of Exploring DNZ slot—and compare approaches to Language: A Handbook for Teachers will be narrative structure, cinematography, editing, useful for this exercise. sound. The Docpac resource for second- • Select four or fi ve montage sequences ary schools has been designed to introduce (including one example of aural montage), students to codes and conventions of docu- and discuss their signifi cance for narrative mentary production and can be used in a structure and thematic development. Stu- similar way. http://www.nzate.co.nz/current/ dents may want to draw from the following doc_pac.html selection of sequences. • Announce the following unit or exercise a - Segment 1: Opening; transition from few days prior to the classroom time, to Wellington to New York; Anika in New allow for preliminary research. In the class- York; Anika playing ‘Youthful’ for various room, have students break up into groups radio stations (note aural montage); radio to brainstorm and decide on the form of station interviews; New York City leading presentation for a fi nal plenary session. into Atlantic Records’ Head Offi ce; Anika Use the collective fi ndings of the class as a recording in New York City. resource base for further exploration of nar- - Segment 2: Set-up for the Tui Awards; rative, genre and themes, etc. The ‘brain- ‘Falling In Love Again’ video shoot; LA storm’ link on this ‘Documentary Viewing’ photo shoot. page may be helpful: http://english.unitecn - Segment 3: Suburban layout of Hornby; ology.ac.nz/resources/units/documentary/ ‘Mother’ video shoot; New Zealand pro- discussion.html motional tour for ‘Mother’. - Segment 4; Setting up for New Zealand The title of the documentary is Three Chords gigs; transition to London; London scenes. and the Truth: The Anika Moa Story. - Segment 5: New Zealand country; record- ing studio. As a warm-up to narrative discussion, encour- • Analyse one music video and one docu- age students to explore the various ways in mentary montage sequence from segments which the title refl ects topics, narrative themes 2 or 3 for the choices made about sound, and generic conventions of the documentary. camerawork and lighting, and editing, Com- Areas to cover could include: researching the pare the functions of the two sequences with origins and uses of the phrase ‘three chords and reference to the generic characteristics of the truth’ (begin by unpacking the introductory ISSUE 35 ISSUE 35 documentary and music video. quotes, and picking up on any ironies); general thoughts about the relationship of documentary AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION DOCUMENTARY GENRE & to ‘reality’; specifi c thoughts aboutTCT as a biography, and understandings of documen- NARRATIVE tary ‘truth’; the place of music in TCT; how the documentary functions as a story; how the title • Pages 2-4 of the Spellbound Study Guide relates to documentary points of view about on the enhanceTV web site provide a use- personal and social values; etc. ful synopsis of the generic conventions of documentary http://www.enhancetv.com.au/ • Extend this by analysing the introductory 6 7 title sequence of the documentary. (A shot Anika, Tim Groenendaal (Anika’s Manager), Ron analysis may be appropriate here). Shapiro (Co-President, Atlantic Records), James • Students can work in pairs to break down Southgate (Managing Director, Warner Music the structure of the documentary, listing NZ), Bernie Moa-Bishop (Anika’s mother), and scenes within each of the five segments. Mandy Karatau (Anika’s Mãori Teacher) are the Identify key themes, and then trace the path principal interviewees. Minor interviewees flesh of the themes through the documentary. Is out the thematic threads of the documentary there a dominant narrative thread? Where narrative: Nick Stern (Manager. National Media does each segment begin and end—which Relations, Atlantic Records), Peter Galvin. (Vice are the key scenes within each segment? President of Product Development, Atlantic Considering the documentary narrative as a Records), Sharon Robertson: (Vice President of whole—is there a climax, and if so, where? music video for Atlantic), and Ricky Manual (Ta Closely read the first segment—what narra- Moko Artist). tive themes are presented to be picked up later on in the documentary? As a biographical documentary, Anika Moa is • Closely read the following sequences paying the key subject of TCT. Viewers effectively fol- attention to both aural and visual compo- low Anika, negotiating the commercial music nents. Discuss their significance for the rest industry and advancing the narrative as she of the narrative in relation to structure and journeys towards self-discovery, resisting the the key themes you’ve identified: pressures to cow to the commercial music - Segment 1: LA Photo shoot industry’s circumscription of her identity as a - Segment 2: Scenes where record com- woman and music artist. Anika clearly prefers pany executives (Ron Shapiro, Nick Stern, the role of anti-hero to hero, eschewing the Peter Galvin, James Southgate) talk about position of role model in Segment 3. Neverthe- marketing Anika. less, insofar as her practices of resistance offer - Segment 3: Christchurch sequences an alternative to stereotypes, it is possible that where Anika has more work done on her Anika’s story may inspire young people search- ta moko, and talks about the influences of ing for resistant role models. her mother and her Mãori teacher. - Segment 4: Anika on the London Eye, • If Anika can be thought of as the protagonist talking with Justin about the United of the story, who are the antagonists, and States, and ringing her mother. what are the sources of dramatic tension - Segment 5: Warner Music Record com- between them? Note the way in which the pany gathering. perspectives of interviewees are set up • Pay attention to the endings and openings against each other to allow some insight of each segment—what relation do they into interviewees differing perspectives. One have to the rest of the narrative? Discuss striking example occurs in Segment 1 when the documentary ending and coda—is it Ron Shapiro’s tale of initiating the meeting an open or closed ending? Where does the with Anika Moa contrasts slightly, but tell- ending leave the viewer? ingly, with Tim Groenendaal’s perspective of the event. What other instances are there Characterisation when interviewee’s perspectives are con- trasted, and how are they productive for the Although Justin Pemberton was reluctant to use documentary story or point of view? ‘Voice of God’ narration, he found it necessary • The Heroes: Documentary Film Making in order to coherently stitch the story together. resource is a useful one for this topic. Paul Casserly was deliberately chosen as narra- http://english.unitecnology.ac.nz/resources/ ISSUE 35 ISSUE 35 tor given the relevance of his backgound as tel- units/heroes/home.html evision producer/director (Eating Media Lunch, AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION Havoc, Mercury Lane etc.), and musician/ TCT is a biography, that draws from a dynamic songwriter with Strawpeople. Interviews largely of collaboration and exchange between Justin correspond to the conventions of ‘talking-head’ Pemberton and Anika Moa. It could be said that set-ups. Anika participates in this set-up, how- the filmmakers’ journey constitutes a subordi- ever her interview audio is also used extensively nate narrative thread for the documentary. over images, underscoring the extent to which this is Anika Moa’s story. • Identify instances in the documentary where Justin Pemberton’s voice as interviewer is 8 9 apparent. Compare the kinds of questions per and magazine reviews of the documen- he asks Anika Moa, with the questions he tary subsequent to broadcast could also be asks of other people. To what extent and incorporated in this kind of exercise. ‘Letters in what ways are the boundaries between to the Editor’, chat room, or discussion list biography and autobiography blurred? responses would also be helpful understand- ing range of possible responses. Imagine yourself as the director—how you would go about creating rapport with your Identity documentary subject? What ethical considera- tions would you have to make? How would you TCT can also be used as a starting point from negotiate your relationship with the subject to which to examine issues of identity formation ensure you remain in control of the project? pertinent to Social Studies Audience Response: Self- • Self: Anika’s gift for mimicry. Mockery of record company executives, and self- refl exivity/Critical thinking mockery. Contrast between the real Anika, marketed Anika, and the different Anikas • Ask students to write down a one or two presented to the camera. Her oscillation page diary entry of their subjective respons- between being ‘staunch’ and being a child. es to the documentary. Prompt questions Her ‘self’ in song lyrics. could include: How did you respond to the • Ethnicity: refer to sections below. documentary? What were the key scenes • Class: Anika growing up in the working class and themes—why were they important for suburb of Hornby, Christchurch. Eschew- the documentary as a whole? What kinds ing material possessions such as owning of messages and values were represented? a house and a car. Lack of ambition in the Which of those messages and values refl ect- global music industry. ed the documentary point of view? Did you • Gender: representations of women in the fi nd Anika Moa easy to or diffi cult to identify music industry. Anika initially ‘tolerates’ the with? When was it easy, when was it diffi cult indignities of photo shoots and glossy music and why? Do you think Anika Moa was wise videos (where the moko on her arms are or not to take the direction she did in her ca- covered up). Anika’s resistance to the use of reer path? Does the documentary encourage her beauty as a commodity. you to take a particular stance on this—with • Commodifi cation: contrasts made between reference to narrative structure and point of Anika’s perspective and those of the record view, if so/if not, then how? What determined company. your responses to the documentary? To • Marketing Anika: Anika’s attempts to ‘keep what extent does your point of view contrast real’ in the face of consumerist hyperreality with the documentary point of view? Who is and the manipulations of the media machine. the documentary speaking to? What types of Anika is not seeking fame, and won’t buy audience will the documentary appeal to? into the hype. The machinations of the global • Devise a generic questionnaire with starting commercial music industries. Ron Shapiro points for discussion. Using the ‘discussion is willing to wait for Anika to ‘come round’, starter’, survey and take notes from four to seeing the Atlantic Records investment in six people about their responses to the doc- Anika as ‘money in the bank’. umentary (ensure that at least two of each • National Identity: Anika winning at the New set of interviewees are not fellow students). Zealand Music Awards. (Refer to sections Then adopt the ‘voices’ of two interviewees above.) ISSUE 35 ISSUE 35 with contrasting points of view, and write a diary entry from each perspective. AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION • Evaluate your response next to the re- sponses of the four to six interviewees. Write a short critical essay that draws from a dialogue between these perspectives, to argue for a particular way of interpreting the documentary. • In order to think further about the constitu- ents of critical reviews, analysis of newspa- 8 9 ‘Keeping It Real’: Identity

2 SOCIAL STUDIES (Achievement Standards) Level 1.3: Conduct a social studies inquiry (6 credits). Internal. • Level 1.4: Examine differing values positions (4 credits). Internal. • Level 2.3: Conduct an advanced social studies inquiry (6 credits). Internal. • Level 2.4: Examine responses to values position(s) (4 credits). Internal. • Level 3.3: Conduct a comprehensive social studies inquiry (6 cred- its). Internal. • Level 3.4: Examine a values system (4 credits). Internal. Formation (Social Studies)

hree Chords and the Truth is most ap- of country, foreign, ground, home, land); tu- propriate for exploring the Culture and urangawaewae; kaainga (in the senses of home, THeritage (CE) strand of the Social Stud- local). ies Curriculum—specifi cally the Achievement Objectives and Indicators CE 6.2; 7.1/2; 8.1/2. VALUES POSITIONS Bicultural, Gender, and Current Issue Perspec- tives are covered by the documentary, and TCT • Drawing from templates provided through can be located in relation to Aotearoa/New Zea- the NCEA Internal Assessment Resources, land and Global (United States/United Kingdom) use the issues presented in TCT as the basis Settings. for examining peoples’ responses to values positions. Relevant templates pertaining The documentary also serves as a resource to Achievement Standard 2.4 are ‘Generic’ fulfi lling the following ELANZ objectives: and ‘Race and Employment Opportunities’. They can be downloaded through the ‘Social 1. The physical environment of New Zealand, Studies’ link at: http://www.tki.org.nz/e/ and how people interact with the landscape. community/ncea/resources.php 2. Mãori culture and heritage, and the infl uence • This exercise would work best integrated of this heritage on New Zealand’s social, within a ‘topic study’ where TCT is being cultural, political and religious beliefs and used as a resource or case study. The ‘Race systems. and Employment Opportunities’ focus on 3. The development over time of New Zea- interviewing people about their stance on a land’s identity, and ways in which this iden- values position would work well in relation to tity is expressed. TCT. • Suggested areas where values positions can Relevant Social Studies Concepts that could be be determined within TCT: applied include: - Segment 1: James Southgate on the sense of alienation that Anika felt during ISSUE 35 ISSUE 35 Culture and Heritage: tikanga /culture; tikanga her time in the US as a worthwhile experi- (in the sense of ethic); ethnicity; identity; ence given the music it yielded. AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION whaunangatanga/kinship; biculturalism; diver- - Segment 2: People appreciating Anika’s sity; taonga/heritage; taonga (in the sense of individuality, fi nding that the ‘Falling In music as gift); stereotypes; whakapapa; kawa (in Love Again’ music video was at odds with the senses of agitation, alienation, emancipa- their experience of her. tion); change; tangata whenua. - Segment 3: Mandy Karatau’s concern for Anika and her perception that the com- Other: class; whaanau/family; values; market, mercial music industry can be very unkind distance; location; place; whenua (in the senses to people. 10 11 ISSUE 35 ISSUE 35 AUSTRALIAN SCREEN EDUCATION AUSTRALIAN SCREEN EDUCATION

10 11 PhotPhoto:o: Mark Smith - Segment 4: Anika’s statement that she’s • Contrasts between the urban environments pretty much given up on the US and is of New York and London, and the predomi- glad not to be living there. (Linked to a nantly rural and suburban landscapes of segment 1 comment that she got ‘bad Aotearoa/New Zealand. The implicit connec- vibes’ from the US, and there is nothing to tion between Urban city environments and inspire her there). images of the Warner Music headquarters in - Segment 5: Anika’s frustration at being Auckland. The in-between spaces of tunnels, expected to continue to write pop music. skies and views from airplane windows. (Linked to her dislike of ‘Falling In Love • Anika’s dislike of the United States and her Again’ in segment 2). love for Aotearoa/New Zealand, is implicit to the narrative. INQUIRY ‘I’m going to go and get some more moko done • Use the issues presented in TCT as the basis on my arms. I’m pretty nervous. They’re like an for conducting a Social Studies inquiry draw- autobiography of my life. I like putting tattoos ing from audience responses to TCT. Rel- on after I’ve been thinking, and plus if I’ve been evant templates pertaining to Achievement travelling heaps … it’s about being happy, posi- Standard 2.3 are ‘Generic’ and ‘My World’. tive. It is anticipated that a form of Qualita- Anika Moa (segment 3) tive research methodology would be most appropriate for the audience response Justin: ‘Have you completely given up on inquiry. The BFI Secondary Research America?’ Guide provides some useful tips for inquiry preparation and can be downloaded at: Anika: ‘Um, pretty much yeah … I always think http://www.bfi.org.uk/education/resources/ that if I had gone there and done all the work teaching/general/research/ that maybe, right now, I’d still be in America • Suggested Inquiry topic pertaining to CH7.2: and I might have a really nice house and a really One of the themes of TCT is that Anika is flash car and stuff. But then I think ughh, I don’t homesick—being separated from her family, want to live in America, I don’t want a flash car her Mãori ‘roots’, and her country. How do and I don’t want a flash house, so I win!’ (seg- different viewers respond to the documenta- ment 4) ry representation of Anika Moa’s reluctance to move from Aotearoa/New Zealand, and Geraldene Peters is a PhD Candidate at The live overseas? Interview questions can be University of Auckland, researching non-broadcast organized around the Achievement Objective political documentary in Aotearoa/New Zealand. themes for CH7.2: Relevant aspects within the documentary that illustrate CH Concepts Endnotes include: 1 John Fiske, Television Cultur e, Routledge, - Segment 1. Anika wanting to be a Mãori London 1987. p. 254. teacher, rather than seeking fame, and is 2 Ibid. used to having adventures in New Zea- land. This study guide was produced by ATOM. For - Segment 2. Photos with the family at the more information about ATOM study guides, Tui Awards. Relationship with her mother The Speakers’ Bureau or ScreenHub (the daily established. Anika’s ‘headspace’ is in New online film and television newsletter) visit our Zealand. web site: www.metromagazine.com.au or email: - Segment 3. Anika at ‘home’ in Hornby. [email protected] ISSUE 35 Receiving her moko. Identification with whakapapa. Relationship with her Mãori AUSTRALIAN SCREEN EDUCATION teacher. The making of the ‘Mother’ video. Promotion around New Zealand of the ‘Mother’ single. - Segment 4. Anika’s love of travel within New Zealand, and decision to ‘give up’ on the US. In London, singing for the ex-pat community, difficulty writing, searching for ‘self’, then calling home. 12