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GERALDENE PETERS STUDYGUIDE the Anika Moa Story THREE CHORDS AND THE TRUTH 1 ISSUE 35 AUSTRALIAN SCREEN EDUCATION

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Anika Moa Story

THREE CHORDS AND THE TRUTH

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‘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’

Three Chords and the Truth: the Anika Moa Story (TCT), is a documentary tracking the path of musician singer/songwriter

Anika Moa from the release of her fi rst album Thinking Room in the United States (after her initial ‘discovery’ by the Managing Director of Warner Music in New Zealand), to the subse-quent process of reconciling her values and life in Aotearoa/New Zealand with the implications of signing to a major global record label—some-thing Anika implicitly talks about in terms of ‘keeping it real’.

‘I’m just really scared of Americans, I’m scared of the whole market, I’m scared of representing my country in a false way.’ Anika Moa in New York City (segment 1)

TCT fi ts the generic parameters of documentary made for New Zealand television (specifi cally, TVONE). It was originally funded by NZ on Air for the Documentary New Zealand (DNZ) strand, but will instead play during primetime within a dedicated one-off slot for New Zealand Music Month (Friday 8 May, 8.30pm). The broadcast of TCT is timely, given the media attention since late 2003 paid to local crossover/pop artists such as Hayley Westenra, Brooke Fraser and Bic Runga—young women with very different profi les and each at various stages of ‘success’ within the global music industry.

Different cameras document stages of Anika’s journey over a twenty-month period, and the story is largely told through montage, music tracks, ‘Voice of God’ narration, and interviews. Anika’s interview audio is also used extensively over images, taking on the function of narra-tion and underscoring the extent to which this

is Anika Moa’s story. The narrative incorporates aspects of music video aesthetic to the extent that, somewhat paradoxically, non-narrative music videos end up contributing to the docu-mentary narrative. Although TCT does work to educate, inform, persuade, and is interested in issues that challenge the status quo, the documentary also has an eye to the aesthetic pleasures of the text.

Directed by Justin Pemberton, TCT was pro-duced by ‘The TV Set’, an Auckland-based production company of three directors set up to bypass the loss of directorial control over projects that can sometimes occur within larger production companies. Ostensibly a biographi-cal documentary, the vision and life of the direc-tor and his collaborative relationship with Anika Moa suggest there are also autobiographical dimensions to the documentary.

This study guide has been written with close attention to NCEA Levels 1-3 Achievement Standards for the discipline strands of Eng-lish, Media Studies and Social Studies. As a resource, it is designed with fl exibility in mind, recognising the productive possibilities of cross-disciplinary exchange between English, Media Studies, and Social Studies. For convenience sake, the Study Guide has been divided into two sections: 1. Genre & Narrative (English/Media Studies), 2. ‘Keeping It Real’: Identity Formation (Social Studies). It is expected that teachers will be able to modify exercises to suit each level and/or discipline strand. Where relevant, this Guide also makes reference to online resources for Media and Visual Language Studies in the New Zealand Curriculum.

INTRODUCTION

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Three Chords and the Truth is a genre-rich text—particularly useful for the way in which television documentary is offset

by music video. Importantly, Justin Pemberton also directs music programming and fi rst put the idea of a documentary to Anika when he was fi lming a Smokefree Rockquest fi nal for TVNZ. While making the documentary, he directed three Anika Moa music videos. ‘Falling In Love Again’ and ‘Mother’ are two that appear in the documentary.

• The New Zealand Film Archive has cop-ies of Anika Moa music videos for ‘Good In My Head’ (2001) and ‘Falling In Love Again’ (2002), as well as a ‘20/20’ item on Anika Moa. Details for enquiries about secondary school access are available at: http://www.fi lmarchive.org.nz/education/education.html

• Online Film and Video Language Resources http://english.unitecnology.ac.nz/resources/

units/piano/fi lm_terms.html http://english.unitecnology.ac.nz/resources/

resources/fi lm.html• The ‘Moving Images’ series of links in Ex-

ploring Language: A Handbook for Teachers

Topics discussed include: lighting, sound, composition, grammar, editing, special effects, storyboarding http://english.unitecnology.ac.nz/resources/resources/exp_lang/home.html

Contrasting Music Video with Television Docu-mentary is a useful way for students to clarify

the generic specifi city of each program type. John Fiske cites Peter Wollen who picks up on the relationship between music video and advertising suggesting that, ‘where the visuals act as an ad … the soundtrack is an example of the music commodity’.1 The commercial music industry relies on selling records, and the mar-keting of the artist is inseparable from marketing the music. At the end of segment 1, we hear Anika’s voice-over a photo shoot montage: ‘I sat there and I’m selling myself in a totally unreal way, and kind of like tolerating the situation ‘cos I felt that if I don’t do it then I won’t be released, or I won’t be successful …’ Elsewhere, she comments: ‘There’s Anika’s album, and then there’s Anika. She’s got make-up on and fl ash clothes, but her album doesn’t sound as though she’d be someone with make-up on and fl ash clothes … people think I’m someone different, and it’s all because of the media hype.’

Commercialism provides a link between the genres insofar as it can be said that television documentary is an institutional genre shaped by the commercial parameters of a ratings-driven medium. Accordingly, TCT, has been structured into fi ve segments to accommodate ad breaks. Following Raymond Williams, advertising can be seen to merge with the program, as part of the ‘fl ow’ of television programming.

• Watch the broadcast of TCT, and identify the ads that play through the documentary. What are the connections between prime time and the relationships between target audiences for advertisers, and the target

ENGLISH (Achievement Standards)

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.

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Genre & Narrative

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audiences for the documentary? To what extent do the content of the ads comment on the documentary, and vice versa? What is the relationship between the music and visuals in the ads that you watch? Can you think of any ads that are shot and edited like music videos? What are some of the pleasures that watching music videos of-fer, and to what extent do these pleasures transfer to watching ads? How would you compare your experiences watching music videos, and your experiences watching ads? How does watching music videos and ads differ from your experience of watching the documentary?

• Identify other scenes within the documentary where commentary is made on the market-ing of ‘Anika’. How many different perspec-tives on marketing ‘Anika’ are there? Does TCT have a point of view about marketing Anika, and if so how does the documentary represent the different perspectives in order to persuade the audience about its point of view?

MUSIC VIDEOPeter Galvin, the Vice President of Product Development at Atlantic Records, talks about the need for mild sex appeal in the marketing of artists and their music. In what ways, and to what extent is this a feature of Anika Moa music videos?

As John Fisk points out, the relationship be-tween image and identity is not fixed in music video. It’s a genre that stimulates fantasy, where images are cut to the beat and often bear no re-lation to the lyrics.2 Generally, it is the exception for music videos to pay attention to narrative structure.

• Using film language, analyse the visual and aural components of an Anika Moa music video. Tem-plates for shot analysis are available at:

http://www.chicagomediaworks.com/

2instructworks/3editing_doc/ 3docedit_scriptmpl/docanaly.doc

http://faculty.uml.edu/phaines/42.232/tablestyleanalysis.htm

• How does editing, cinematography, and art direction contribute to the meanings of, or moods evoked by the music video? What are the number of different ways in which Anika’s identity is structured through the videos?

• In preparation for the next activity, it would be useful for students to watch music videos of younger women artists on the music channel C4. http://www.c4tv.co.nz/

Students can choose four or five music vid-eos, and apply questions from the preceding exercise to them.

• Storyboard a music video for one of Anika’s songs. (The templates below can be adapt-ed to include lyrics for the songs, which are readily available online).

http://english.unitecnology.ac.nz/resources/units/movies/storyboard.html

http://english.unitecnology.ac.nz/resources/resources/exp_lang/classroom_approach.html

• Using film language, and taking into account the ideology of gender representation, com-pare the video you’d like to make, with the music video ‘Falling In Love Again’ critiqued in the documentary.

• The CD Cover Design Unit provides a complementary set of exercises focusing on semiotics and analysis of the static image. Hyperlinks to the ‘planner sheet’ and lyrics are particularly useful.

http://english.unitecnology.ac.nz/resources/units/covered/home.html

MONTAGEAside from the incorporation of

music video sequences, aural and visual sequences play a key role through the course of the documentary. So much so that

montage might be considered a stylistic feature, but

one with a purpose to advance the narra-

tive. As with other editing techniques

such as intercut-ting sequences, montage is used to comment on

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themes of identity, transition and ‘place’, the marketing of Anika, and her refusal to conform to a type. The aesthetic vision and music video background of Justin Pemberton is apparent by the way in which montage and music video aesthetics sit next to observational footage, and ‘talking head’ interviews. In addition, the offl ine editor for the documentary, Bella Erikson, is also a music video editor.

• Some fi lmmakers contend that the writing of a documentary largely occurs at the edit stage. Use this axiom as a starting point for classroom discussion of the editing proc-ess, editing techniques and the editing style of TCT. The editing section of Exploring Language: A Handbook for Teachers will be useful for this exercise.

• Select four or fi ve montage sequences (including one example of aural montage), and discuss their signifi cance for narrative structure and thematic development. Stu-dents may want to draw from the following selection of sequences.- Segment 1: Opening; transition from

Wellington to New York; Anika in New York; Anika playing ‘Youthful’ for various radio stations (note aural montage); radio station interviews; New York City leading into Atlantic Records’ Head Offi ce; Anika recording in New York City.

- Segment 2: Set-up for the Tui Awards; ‘Falling In Love Again’ video shoot; LA photo shoot.

- Segment 3: Suburban layout of Hornby; ‘Mother’ video shoot; New Zealand pro-motional tour for ‘Mother’.

- Segment 4; Setting up for New Zealand gigs; transition to London; London scenes.

- Segment 5: New Zealand country; record-ing studio.

• Analyse one music video and one docu-mentary montage sequence from segments 2 or 3 for the choices made about sound, camerawork and lighting, and editing, Com-pare the functions of the two sequences with reference to the generic characteristics of documentary and music video.

DOCUMENTARY GENRE & NARRATIVE

• Pages 2-4 of the Spellbound Study Guide on the enhanceTV web site provide a use-ful synopsis of the generic conventions of documentary http://www.enhancetv.com.au/

study_it/spellbound.pdf• Gary Simmons’ comments on the relation-

ship documentary bears to reality, tech-niques of representation, point of view, and structure are salient to an analysis of TCT. In addition to his points, it is worthwhile noting that the use of this Study Guide will be more effective if the hybrid characteristics of genre are assumed.

• The following Unit emphasises the under-standing of documentary as ‘constructed re-ality’ and would complement the Spellbound Study Guide. http://english.unitecnology.ac.nz/resources/units/documentary/home.html

• Watch TCT next to a documentary in the DNZ slot—and compare approaches to narrative structure, cinematography, editing, sound. The Docpac resource for second-ary schools has been designed to introduce students to codes and conventions of docu-mentary production and can be used in a similar way. http://www.nzate.co.nz/current/doc_pac.html

• Announce the following unit or exercise a few days prior to the classroom time, to allow for preliminary research. In the class-room, have students break up into groups to brainstorm and decide on the form of presentation for a fi nal plenary session. Use the collective fi ndings of the class as a resource base for further exploration of nar-rative, genre and themes, etc. The ‘brain-storm’ link on this ‘Documentary Viewing’ page may be helpful: http://english.unitecnology.ac.nz/resources/units/documentary/discussion.html

The title of the documentary is Three Chords and the Truth: The Anika Moa Story.

As a warm-up to narrative discussion, encour-age students to explore the various ways in which the title refl ects topics, narrative themes and generic conventions of the documentary. Areas to cover could include: researching the origins and uses of the phrase ‘three chords and the truth’ (begin by unpacking the introductory quotes, and picking up on any ironies); general thoughts about the relationship of documentary to ‘reality’; specifi c thoughts about TCT as a biography, and understandings of documen-tary ‘truth’; the place of music in TCT; how the documentary functions as a story; how the title relates to documentary points of view about personal and social values; etc.

• Extend this by analysing the introductory

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title sequence of the documentary. (A shot analysis may be appropriate here).

• Students can work in pairs to break down the structure of the documentary, listing scenes within each of the five segments. Identify key themes, and then trace the path of the themes through the documentary. Is there a dominant narrative thread? Where does each segment begin and end—which are the key scenes within each segment? Considering the documentary narrative as a whole—is there a climax, and if so, where? Closely read the first segment—what narra-tive themes are presented to be picked up later on in the documentary?

• Closely read the following sequences paying attention to both aural and visual compo-nents. Discuss their significance for the rest of the narrative in relation to structure and the key themes you’ve identified: - Segment 1: LA Photo shoot- Segment 2: Scenes where record com-

pany executives (Ron Shapiro, Nick Stern, Peter Galvin, James Southgate) talk about marketing Anika.

- Segment 3: Christchurch sequences where Anika has more work done on her ta moko, and talks about the influences of her mother and her Mãori teacher.

- Segment 4: Anika on the London Eye, talking with Justin about the United States, and ringing her mother.

- Segment 5: Warner Music Record com-pany gathering.

• Pay attention to the endings and openings of each segment—what relation do they have to the rest of the narrative? Discuss the documentary ending and coda—is it an open or closed ending? Where does the ending leave the viewer?

CharacterisationAlthough Justin Pemberton was reluctant to use ‘Voice of God’ narration, he found it necessary in order to coherently stitch the story together. Paul Casserly was deliberately chosen as narra-tor given the relevance of his backgound as tel-evision producer/director (Eating Media Lunch, Havoc, Mercury Lane etc.), and musician/songwriter with Strawpeople. Interviews largely correspond to the conventions of ‘talking-head’ set-ups. Anika participates in this set-up, how-ever her interview audio is also used extensively over images, underscoring the extent to which this is Anika Moa’s story.

Anika, Tim Groenendaal (Anika’s Manager), Ron Shapiro (Co-President, Atlantic Records), James Southgate (Managing Director, Warner Music NZ), Bernie Moa-Bishop (Anika’s mother), and Mandy Karatau (Anika’s Mãori Teacher) are the principal interviewees. Minor interviewees flesh out the thematic threads of the documentary narrative: Nick Stern (Manager. National Media Relations, Atlantic Records), Peter Galvin. (Vice President of Product Development, Atlantic Records), Sharon Robertson: (Vice President of music video for Atlantic), and Ricky Manual (Ta Moko Artist).

As a biographical documentary, Anika Moa is the key subject of TCT. Viewers effectively fol-low Anika, negotiating the commercial music industry and advancing the narrative as she journeys towards self-discovery, resisting the pressures to cow to the commercial music industry’s circumscription of her identity as a woman and music artist. Anika clearly prefers the role of anti-hero to hero, eschewing the position of role model in Segment 3. Neverthe-less, insofar as her practices of resistance offer an alternative to stereotypes, it is possible that Anika’s story may inspire young people search-ing for resistant role models.

• If Anika can be thought of as the protagonist of the story, who are the antagonists, and what are the sources of dramatic tension between them? Note the way in which the perspectives of interviewees are set up against each other to allow some insight into interviewees differing perspectives. One striking example occurs in Segment 1 when Ron Shapiro’s tale of initiating the meeting with Anika Moa contrasts slightly, but tell-ingly, with Tim Groenendaal’s perspective of the event. What other instances are there when interviewee’s perspectives are con-trasted, and how are they productive for the documentary story or point of view?

• The Heroes: Documentary Film Making resource is a useful one for this topic.

http://english.unitecnology.ac.nz/resources/units/heroes/home.html

TCT is a biography, that draws from a dynamic of collaboration and exchange between Justin Pemberton and Anika Moa. It could be said that the filmmakers’ journey constitutes a subordi-nate narrative thread for the documentary.

• Identify instances in the documentary where Justin Pemberton’s voice as interviewer is

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apparent. Compare the kinds of questions he asks Anika Moa, with the questions he asks of other people. To what extent and in what ways are the boundaries between biography and autobiography blurred?

Imagine yourself as the director—how you would go about creating rapport with your documentary subject? What ethical considera-tions would you have to make? How would you negotiate your relationship with the subject to ensure you remain in control of the project?

Audience Response: Self-refl exivity/Critical thinking

• Ask students to write down a one or two page diary entry of their subjective respons-es to the documentary. Prompt questions could include: How did you respond to the documentary? What were the key scenes and themes—why were they important for the documentary as a whole? What kinds of messages and values were represented? Which of those messages and values refl ect-ed the documentary point of view? Did you fi nd Anika Moa easy to or diffi cult to identify with? When was it easy, when was it diffi cult and why? Do you think Anika Moa was wise or not to take the direction she did in her ca-reer path? Does the documentary encourage you to take a particular stance on this—with reference to narrative structure and point of view, if so/if not, then how? What determined your responses to the documentary? To what extent does your point of view contrast with the documentary point of view? Who is the documentary speaking to? What types of audience will the documentary appeal to?

• Devise a generic questionnaire with starting points for discussion. Using the ‘discussion starter’, survey and take notes from four to six people about their responses to the doc-umentary (ensure that at least two of each set of interviewees are not fellow students). Then adopt the ‘voices’ of two interviewees with contrasting points of view, and write a diary entry from each perspective.

• 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-

per and magazine reviews of the documen-tary subsequent to broadcast could also be incorporated in this kind of exercise. ‘Letters to the Editor’, chat room, or discussion list responses would also be helpful understand-ing range of possible responses.

IdentityTCT can also be used as a starting point from which to examine issues of identity formation pertinent to Social Studies

• Self: Anika’s gift for mimicry. Mockery of record company executives, and self-mockery. Contrast between the real Anika, marketed Anika, and the different Anikas presented to the camera. Her oscillation between being ‘staunch’ and being a child. Her ‘self’ in song lyrics.

• Ethnicity: refer to sections below.• Class: Anika growing up in the working class

suburb of Hornby, Christchurch. Eschew-ing material possessions such as owning a house and a car. Lack of ambition in the global music industry.

• Gender: representations of women in the music industry. Anika initially ‘tolerates’ the indignities of photo shoots and glossy music videos (where the moko on her arms are covered up). Anika’s resistance to the use of her beauty as a commodity.

• Commodifi cation: contrasts made between Anika’s perspective and those of the record company.

• Marketing Anika: Anika’s attempts to ‘keep real’ in the face of consumerist hyperreality and the manipulations of the media machine. Anika is not seeking fame, and won’t buy into the hype. The machinations of the global commercial music industries. Ron Shapiro is willing to wait for Anika to ‘come round’, seeing the Atlantic Records investment in Anika as ‘money in the bank’.

• National Identity: Anika winning at the New Zealand Music Awards. (Refer to sections above.)

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Three Chords and the Truth is most ap-propriate for exploring the Culture and Heritage (CE) strand of the Social Stud-

ies Curriculum—specifi cally the Achievement Objectives and Indicators CE 6.2; 7.1/2; 8.1/2. Bicultural, Gender, and Current Issue Perspec-tives are covered by the documentary, and TCT can be located in relation to Aotearoa/New Zea-land and Global (United States/United Kingdom) Settings.

The documentary also serves as a resource fulfi lling the following ELANZ objectives:

1. The physical environment of New Zealand, and how people interact with the landscape.

2. Mãori culture and heritage, and the infl uence of this heritage on New Zealand’s social, cultural, political and religious beliefs and systems.

3. The development over time of New Zea-land’s identity, and ways in which this iden-tity is expressed.

Relevant Social Studies Concepts that could be applied include:

Culture and Heritage: tikanga /culture; tikanga (in the sense of ethic); ethnicity; identity; whaunangatanga/kinship; biculturalism; diver-sity; taonga/heritage; taonga (in the sense of music as gift); stereotypes; whakapapa; kawa (in the senses of agitation, alienation, emancipa-tion); change; tangata whenua.

Other: class; whaanau/family; values; market, distance; location; place; whenua (in the senses

of country, foreign, ground, home, land); tu-urangawaewae; kaainga (in the senses of home, local).

VALUES POSITIONS• Drawing from templates provided through

the NCEA Internal Assessment Resources, use the issues presented in TCT as the basis for examining peoples’ responses to values positions. Relevant templates pertaining to Achievement Standard 2.4 are ‘Generic’ and ‘Race and Employment Opportunities’. They can be downloaded through the ‘Social Studies’ link at: http://www.tki.org.nz/e/community/ncea/resources.php

• This exercise would work best integrated within a ‘topic study’ where TCT is being used as a resource or case study. The ‘Race and Employment Opportunities’ focus on interviewing people about their stance on a values position would work well in relation to TCT.

• Suggested areas where values positions can be determined within TCT:- Segment 1: James Southgate on the

sense of alienation that Anika felt during her time in the US as a worthwhile experi-ence given the music it yielded.

- Segment 2: People appreciating Anika’s individuality, fi nding that the ‘Falling In Love Again’ music video was at odds with their experience of her.

- Segment 3: Mandy Karatau’s concern for Anika and her perception that the com-mercial music industry can be very unkind to people.

2SOCIAL 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.

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‘Keeping It Real’: Identity

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Photo: Mark SmithPhoto: Mark Smith10

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- Segment 4: Anika’s statement that she’s pretty much given up on the US and is glad not to be living there. (Linked to a segment 1 comment that she got ‘bad vibes’ from the US, and there is nothing to inspire her there).

- Segment 5: Anika’s frustration at being expected to continue to write pop music. (Linked to her dislike of ‘Falling In Love Again’ in segment 2).

INQUIRY• Use the issues presented in TCT as the basis

for conducting a Social Studies inquiry draw-ing from audience responses to TCT. Rel-evant templates pertaining to Achievement Standard 2.3 are ‘Generic’ and ‘My World’.

It is anticipated that a form of Qualita-tive research methodology would be most appropriate for the audience response inquiry. The BFI Secondary Research Guide provides some useful tips for inquiry preparation and can be downloaded at: http://www.bfi.org.uk/education/resources/teaching/general/research/

• Suggested Inquiry topic pertaining to CH7.2: One of the themes of TCT is that Anika is homesick—being separated from her family, her Mãori ‘roots’, and her country. How do different viewers respond to the documenta-ry representation of Anika Moa’s reluctance to move from Aotearoa/New Zealand, and live overseas? Interview questions can be organized around the Achievement Objective themes for CH7.2: Relevant aspects within the documentary that illustrate CH Concepts include:- Segment 1. Anika wanting to be a Mãori

teacher, rather than seeking fame, and is used to having adventures in New Zea-land.

- Segment 2. Photos with the family at the Tui Awards. Relationship with her mother established. Anika’s ‘headspace’ is in New Zealand.

- Segment 3. Anika at ‘home’ in Hornby. Receiving her moko. Identification with whakapapa. Relationship with her Mãori 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.

• Contrasts between the urban environments of New York and London, and the predomi-nantly rural and suburban landscapes of Aotearoa/New Zealand. The implicit connec-tion between Urban city environments and images of the Warner Music headquarters in Auckland. The in-between spaces of tunnels, skies and views from airplane windows.

• Anika’s dislike of the United States and her love for Aotearoa/New Zealand, is implicit to the narrative.

‘I’m going to go and get some more moko done on my arms. I’m pretty nervous. They’re like an autobiography of my life. I like putting tattoos on after I’ve been thinking, and plus if I’ve been travelling heaps … it’s about being happy, posi-tive.Anika Moa (segment 3)

Justin: ‘Have you completely given up on America?’

Anika: ‘Um, pretty much yeah … I always think that if I had gone there and done all the work that maybe, right now, I’d still be in America and I might have a really nice house and a really flash car and stuff. But then I think ughh, I don’t want to live in America, I don’t want a flash car and I don’t want a flash house, so I win!’ (seg-ment 4)

Geraldene Peters is a PhD Candidate at The University of Auckland, researching non-broadcast political documentary in Aotearoa/New Zealand.

Endnotes1 John Fiske, Television Culture, Routledge,

London 1987. p. 254.2 Ibid.

This study guide was produced by ATOM. For more information about ATOM study guides, The Speakers’ Bureau or ScreenHub (the daily online film and television newsletter) visit our web site: www.metromagazine.com.au or email: [email protected]

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