The first commercial photographer in New Zealand (Isaac Polack) set up shop in Auckland in 1848.  Photography has changed a lot since then with the formal portraits taken by Polack no longer as popular as they once were. But in the 1950s wedding photography was still a lucrative business. Amy Harper, a specialist in weddings, sometimes had bridal limousines in a queue outside of her studio on a Wednesday (one of her busiest days of the week!)

Mister J. Cumming, a Levin photographer, undertook weddings as well. Wedding photography 'on location' became increasingly popular after the Second World War. In England, former army photographers would wait outside of churches ready to offer their services to the happy couple on the off chance they would be interested! But studio based wedding portraits were in demand as well.

Mister Cumming didn't just photograph weddings. In a 1960 Levin Industries Catalogue he advertised his services for commercial and industrial photography (then based in Trafalgar Street), and many photographs taken by him are of local events. The National Library states he was active between 1955-1968. 

The photograph on the slide is hand coloured. This was another service photographers offered, but one which would soon become obsolete as better colour films, papers and printing became available.

This 1932/1933 British musical comedy featured a hapless journalist, a millionaire and a lie about being married which quickly gets out of hand. Musical farces like this were popular in the early 1930s as they made full use of the recently invented sound cinema systems (popularly known as 'talkies'). 

And cinemas needed every advantage they could get! The Great Depression cut household incomes to the bone, and regular cinema visits needed to be justified. Enter the 'double feature'- two films played back-to-back with a single admission price. One of the films in this double billing was a 'B-movie' made with lesser talent and a small budget and served as the warm-up act to the better-known main feature.

In New Zealand, cinemas had to show a minimum percentage of British films- a rule found in many places in the Empire. This led to the 'Quota Quickie' - a low budget, poorly made British film produced in the knowledge it would be needed to fill the quota. In Britain some of these films had such a bad reputation that they played to empty cinemas while the cleaners prepared for the next film. Viewer beware!   

This slide advertised 'Sleepless Nights' on the cinema screen and still has the hand-written notes showing the next screening time. It wasn't a 'Quota Quickie' with ads in the papers calling it a 'Fast and Furious Fun Frolic' and recommending that 'if you are human.... you'll love it!' But not if you were a young human- although there were no legal restrictions the Censor recommended it for adults.

While this slide is for a Palmerston North business, Leader & Watt have since opened branches in both Levin and Foxton. But what makes this slide more interesting is what it says about how the Kiwi idea of 'home' was seen.

In postwar New Zealand home ownership was booming. In fact, owning a home was seen as a rite of passage and if you didn't own one by the time you were forty you were seen as rather suspect. Owning a home also meant maintaining it- the Black & Decker portable drill was invented in 1916 and has since gone through many different versions. This slide suggests that it would make a perfect gift for someone who has their own home (a young family starting out in their first home would need power tools- and fast!).

But this drill was sold to men- with the vision of the 'man of the house' being responsible for fixing and extending the home then accepted as normal. Until a couple of years ago a powertool retailer had a radio jingle saying that their stores were '...a man's world' showing that these outdated ideas have lingered.....

Yates started selling their packets of seeds in 1893. At the time, Aotearoa was slowly becoming an urban country- while the rural sector remained the country's economic powerhouse more of the population was living in the cities and towns. People were proud of their houses, and photography of families posing outside of their homes was second only to portraits in the family albums.

This slide was made much later (probably in the 1950s) but it shows the pride people had in their garden. No garden was shown- this could be any family anywhere in the country. 

The man and women in the slide grip their garden tools like rifles- and this orginally was done on purpose. With food supplies tight during the Second World War, Yates joined the Government in calling gardening a public duty. Images of gardens were displayed next to scenes from the front and the home gardener was drawn like a soldier in overalls. 

This slide may have used leftover imagery from the war to encourage people to keep planting (home gardening remained popular until the rise of the supermarkets in the 1960s). It may have dated from the war itself, but usually these slides mention the war or victory in some way. The 'Reliable Seeds' slogan has been seen in New Zealand newspapers from 1906 to 1962 so doesn't narrow it down much.....

'Shop Local' campaigns are not just a modern thing! Long before the internet made your computer a virtual department store, the motor car was quite literally driving people away from the local Main Street and into the big cities. Small cinemas often carried ads for local shops and in this Ashhurst example, a slide screened before these ads had a general 'shop local' message.

Who paid for this slide? The local business owners? The cinema manager- who got commission on every cinema advertising slide bought? Or was it a local business association who convinced the cinema manager to make a 'free slide' for the good of the town? We may never know. But we do know that by the 1970s many local cinemas had closed down as a night out became a night out of town. Many Horowhenua towns did not escape this trend.

According to a 1981 Jubilee Issue of the 'Horowhenua Chronicle', Lambles Ltd. had a shop on Oxford Street between 1960 and 1968, which looks to be the era of this slide. The house in the picture would have been very trendy in the 1960s with a large fireplace surrounded by interior brick.

Levin's Regent Theatre was also on Oxford Street, so it was just a short walk from the screening down to Lambles for the latest in carpet and furnishings! 

Is it ironic that an ad for make-up is marred by blemishes? This slide may just have been left by the projector's heat for too long! However, there's enough writing left untouched to know that it was made for the Oxford Pharmacy. An old newspaper ad displays the pharmacy on Oxford Street in 1981 as one of six pharmacies in Levin.

This slide looks to be a bit older than this though. An 'Oxford Pharmacy' was in the New Zealand Register of Pharmacies in 1960, albeit on a different end of Oxford Street.

The 'Chronicle' referred to in the slide was the local newspaper, known at various points as the 'Levin Chronicle', 'Daily Chronicle' and 'Horowhenua Daily Chronicle". At the time the slide was made the paper was published six days a week and was a paid newspaper. In 2008 it was renamed the 'Horowhenua Chronicle' and became a free community newspaper which is still being published at the time of writing (September 2023). 

 Print advertisements for Langtry's Pharmacy date back to the 1950s and they were in the government Register of Pharmacies in 1960. Online records suggest that Langtry's shop was demolished in 1975 (however, they moved at least once based off Kete documents) MAVtech has another Langtry's slide from a similar era as this one which advertises Kodak photographic film (also searchable on Kete) as well as one advertising perfume. 

The 1966 Encyclopaedia of New Zealand stated that a pharmacist had two years of academic training followed by a two year apprenticeship- but the University of Otago was about to launch a bachelors degree which would cut the apprenticeship down to one year. This combination of a degree and a one year internship is still used today- although the University of Auckland also offers a relevant degree.

 Kete records show that this company was owned by Lance Osborne and was trading in the mid 1960s. The company no longer trades, with many competitors setting up in the last forty years. The fact that a local company in a small town could move household furniture New Zealand wide would have been quite an achievement! Another slide from this firm boasts about the CB radios each truck carried, which would have helped drivers stay in touch during long distance moves.

The truck's bumper advertises daily runs from Levin, Shannon, Foxton and Palmerston North.

The second slide (also on Kete) shows a truck carrying industrial loads, so they didn't just do furniture removal work.

This is one of multiple cinema advertising slides on Kete Horowhenua from Barnao's Music Shop.

Barnao's Music Shop was trading in Levin from 1962-1988. It was the passion of Giuseppe Antonio Barnao whose love of music began when we was gifted a clarinet in 1942. He worked in a music shop the following year and his talents saw him join dance bands and serve as an Army Bandsman. He was a member of Levin bands for decades. A web search will reveal lots of archived interviews and articles about Mr. Barnao. Barnao's shop printed advertising sleeves for the records they sold. The reference to 'the swinginest music store in town' would date this slide to the 1960s/very early 1970s! This slide would have been used to advertise the shop during a film at the cinema. 

We'll be the first to say that this slide has not aged well. Rolf Harris toured New Zealand in 1970 and this slide may date from this time. It probably screened in Palmerston North but may also have be shown in Levin's cinema as well, given that this was a national tour. We know from the label that it was screened in Kerridge Odeon cinemas- then the biggest chain in New Zealand. Cinema advertising was often used to advertise the arrival of touring acts from overseas.

Rolf Harris was convicted of twelve counts of indecent assault on the 30th of June, 2014. Victims of Harris's offending (outside of the counts he was convicted on) came forward from his 1970 New Zealand tour. 

During the First World War the New Zealand Government was fighting an internal battle with 'shirkers'- the men who (for whatever reason) were not enlisting in the forces even though they were eligible to. Shirkers were portrayed in newspapers and posters as weak men who looked unkempt and shifty, as opposed to the strong, masculine soldier. Some papers fretted that the shirkers would father children while the soldiers were away, weakening the New Zealand national character.

Of course, given the punishments and social stigma, it took as much courage to be a conscientious objector as it did to sign up for the army. In Bulls, a local blacksmith refused to serve young men who were not in the army without a good reason and many such men were accosted in the street and on public transport.

They were also accosted in the cinema via government promotional slides like this one. The expensive 'dress circle' seats were taxed to help pay for the war- but the cheaper 'stalls' below were exempt as they provided an important boost to morale. By 1917  it was stated in Parliament that “not less than 550,000 people go to picture entertainments every week." What better place to show a recruiting slide?

This slide urges uncommitted men to join the forces by emphasising the loss of pride of having others fight for them, and highlights the personal contribution they needed to make to the war effort. 

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection.

General Foch was an innovative commander and one who was big enough to admit mistakes and learn from them. On the 26th of March 1918 this French General was appointed the head of all Allied forces- a big change from the previous squabbling between the British and French commands. Foch's authority did not extend to overruling national commands, but he could at least coordinate strategy and direction of battle and by being the 'head' of all armies he could shelter his subordinate commanders from political interference. 

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection. 

General Pershing was the commander of the American Forces, who entered the war on the Allied side in 1917. Pershing adamantly refused to integrate his troops into the other Allied armies, preferring to fight for the most part as a separate force. His men were ill-trained for the realities of trench warfare and suffered terrible casualties but by sheer numbers made an impact on the front line.

Judging by the consistent hand colouring this slide was part of a set made in 1918. MAVtech has others from this series on Kete.

In today's world of instant world wide communications it is easy to forget just how isolated people on the 'home front' felt during the First World War. Most combat was taking place on the opposite side of the world from New Zealand, and photographs from Gallipoli took six months to arrive and be printed. Even the newsreels showing 'the front' and army camps were screened months after the events happened. So, a glimpse of the men in command of the allied armies provided some sense of control and connection. 

General Joffre was a senior commander of the French Army who won early victories during the war. However, a string of losses eroded his position and by the time this slide was made he was likely no longer in direct command and instead had an advisory role. 

Judging by the consistent hand colouring this slide was part of a set made in 1918. MAVtech has others from this series on Kete. These slides were certainly shown in cinemas, but may also have been shown via magic lanterns to smaller audiences as well.

This slide is another from MAVtech's collection which focuses on the New Zealand Government's recruitment efforts during World War One. A sticking point for many men was leaving their wives and sweethearts if they enlisted, and this slide tries to counter this. It suggests that even if women were saying for men to go, they were thinking it and hit this point home by insinuating that the 'real men' were in uniform. 

The slide even portrays the New Zealand nation as a young women, urging men to leap to her defence. At the same time as this slide screened there were posters pitched towards women. These said that if a man would abandon his country in a time of need he would abandon his wife as well. 

Despite these slides many men were understandably cautious about signing up and risking being shot, and the government introduced conscription in 1916.

All combatant countries in the Second World War came to realise just how expensive modern warfare can be. In New Zealand taxes tripled between 1940 and 1945 so the necessary capital could be raised, with the government taxing to the economic limit.

For those with surplus funds, "National Savings Bonds" were introduced. These were loans made to the government for war purposes to be paid back (with some interest) when peace returned. By 1946, over forty million pounds had been invested in the scheme.   ‘Lend to defend the right to be free!’ was the overarching motto of National Savings and was put on posters, cinema slides and savings books.

With 30 million tickets sold in 1939, New Zealand's cinemas was the perfect place to attract attention!  

The mention of the serviceperson's sacrifice as a compelling reason to offer savings harks back to a theme in the First World War. In New Zealand some labour unions urged the government to raise taxes on the wealthy, arguing that if people's lives were being conscripted, so should capital. This was not directly taken up (but was effected indirectly through taxes on luxury items) and the idea was repeated on this slide.

Amid the scores of patriotic songs of the First World War was a pacifist tune just as well known in its day: "I Didn't Raise My Boy to Be a Soldier". Written in America before their entry into the war as a way to keeping the country in peace, the song implores mothers to seek peace, least their sons become casualties. The lyrics went like this....

 Ten million soldiers to the war have gone,

Who may never return again.

Ten million mothers' hearts must break

For the ones who died in vain,

Head bowed down in sorrow

In her lonely years,

I heard a mother murmur thru' her tears:

Chorus

I didn't raise my boy to be a soldier,

I brought him up to be my pride and joy.

Who dares to place a musket on his shoulder,

To shoot some other mother's darling boy?

Let nations arbitrate their future troubles,

It's time to lay the sword and gun away.

There'd be no war today,

If mothers all would say,

"I didn't raise my boy to be a soldier."

Verse 2

What victory can cheer a mother's heart,

When she looks at her blighted home?

What victory can bring her back

All she cared to call her own?

Let each mother answer

In the years to be,

Remember that my boy belongs to me! 

The song became a hit amongst pacifists around the world and was known in New Zealand. It was mostly derided in the press- when it was sung at an Australian socialist rally soldiers who were in the audience disrupted the song, to the approval of most New Zealand papers but to the condemnation of the socialist 'Maoriland Worker' publication. 

Nonetheless, the song was effective enough for recruiting authorities to try and counter it. Patriotic films referenced the song before the hero decided to stand up for his country and join anyway. The slide shown here was displayed as part of a screening at the cinema and urges young men to join whilst quietly disparaging the song.

There are some common visual themes used here which are also seen in contemporary posters and political cartoons. Note the straight back and clean face of the military recruit and compare these to the hunched back of the 'shirker' whose hands rest idly in his pockets and whose face has a vacant expression. 

Of all the recruiting slides in MAVtech's collection, this one has the most fascinating background!

1977's 'Saturday Night Fever' was a hit movie in America and in many other countries. However, its foul language, nudity and adult themes meant that it was given an 'adults only' rating which limited who could see it.

So in 1979 Paramount released a 'general audience' edit of the film with the controversial scenes cut and some of the language redubbed. In New Zealand this was given a GA 'General Audience' rating and proved to be just as successful.

It was a busy time for John Travolta- this slide reveals that 'Saturday Night Fever' was being shown as a double billing with 'Grease'- another Travolta film! 

By the late 1970s cinema trends were changing. New Zealanders used to go to the cinema as a social occasion and often picked what they wanted to watch when they got there. But the rise of the Hollywood 'blockbuster' meant that people now went to the cinema to see a particular film. This, and the rise of television, led to a sharp decline in ticket sales. In 1960 the average New Zealand went to 'the flicks' around seventeen times- by 1981 that was only five times and the total number of cinemas went from over 500 down to around 150. Foxton's Coronation Hall was one of these causalities and had ceased to be a regular cinema.

Drowning has claimed far too many lives in Aotearoa. Our wild beaches and network of rivers proved so fatal in the 19th century that drowning was referred to as 'The New Zealand Death'. In the 1950s things didn't seem to be that much better, with public information campaigns reminding parents that a child died by drowning every week.

This slide was produced by the 'National Prevent Drowning Committee' which worked with the Internal Affairs Department. Their mascot was an owl called Ruru who urged the public to 'Learn Water Wisdom'. In an effort to reach Maori some of Ruru's messages were printed in Te Reo. 

The presence of Ruru dates this slide to the 1950s- as does the different design of the surf lifesavers' flags. This particular slide was shown in Paraparaumu- but with Foxton being a seaside town it is almost certain that it would have been screened in Horowhenua just in time for summer. 

If you are interested in reading more about Ruru's campaigns you can read a thesis here 

 https://researcharchive.vuw.ac.nz/xmlui/bitstream/handle/10063/2981/thesis.pdf?sequence=2 

This slide advertised  'Frosty Jack' ice cream- a Wellington brand which was sold from 1924 to 1967. Like many local companies it had a limited distribution- 'Frosty Jack' didn't even get to the South Island until the 1960s. However, this effort may have caused the company to lose money and they sold to a larger firm who then stopped making ice cream a few years later.

As early as the 1930s 'Frosty Jack' trays were being used in cinemas during the weekend matinee screenings which were popular with children.  This slide asks the patrons to 'call the boy'- with carrying the ice-cream tray a popular first job for many schoolchildren.

Many of these cinemas would have been independent ones- Kerridge-Odeon ended up owning its own ice cream brand for its theatres.

Take a look at the boy on the slide- it looks as though the ice cream is giving him some brain freeze! 

MAVtech has a 'Frosty Jack' ice cream tray in its collection and you can see it on Kete. Just search for 'Frosty Jack'.

This slide would have been shown by cinema management whenever there was an important announcement to make. Sometimes this might be news of new treats at the food stand. Other times it may have been more serious- like a call for assistance from any doctors in the audience. The projectionist would write on the yellow bar of the slide with removable ink and would rub out the writing after the screening.

There might not seem like much space- but the slide didn't have a lot of time to get the message across. The heat from early carbon- arc projectors would crack the slide in a few seconds so it was displayed and then withdrawn quickly! 

Some cinemas had basic, picture - less 'blank' slides for these announcements, but the cinema who used this one went really fancy!

Some cinema advertising slides were advertising- advertising! But when this slide was made (1930s-1950s) it could boast some very important sales points.....

'Solus position' is an advertising term and means that the ad is isolated away from other, competing ads. One slide at a time was shown during the intermission 'advertising run' and each filled the screen. All eyes would have been on the ad as the cinema would have been darkened.

'Full Colour' was a worthy claim at a time when most domestic printing did not do colour that well. This was a common complaint of photographers which persisted into the 1960s. Even when television arrived it was black and white for over a decade. All the more reason for cinema advertising to have an impact.

'Low Cost' is a relative term, but 'good value' would be a true claim. The advertiser could place slides in one local cinema or across the whole chain- or any number in between! This kept the ad where the customers were.

With these selling points no wonder cinema advertising slides were a popular way of marketing. MAVtech's collection of local and national cinema advertising shows just how sensationally popular they were. Have a browse on Kete by searching 'cinema advertising slide' to find out! 

But slides weren't the only way of advertising on the 'big screen'. By the late 1950s 'Dominion Screens Limited', which serviced and was owned by the Amalgamated Theatres chain, was selling screening time for one minute advertising films and Screens Advertising Limited sold space for one and a half minute ads.

This is not the slide you would want to see projected on the screen before your film started! The sound track of analogue films ran beside the images (asides from a few very early, very seldom used systems) so if the sound track was damaged there was little which could be done. Luckily it only impacted a few minutes of footage in this case!

In some cinemas this was more likely to happen. In very early New Zealand cinemas a reel of  short films would move from one operator to the next and if you were the last cinema on the line the images would be worn from all the previous screenings. Some First World War newsreels were played into oblivion and no longer survive (although these did not have sound...)

In the United States of America some theatres host 'second run' screenings of films which have already been used by regular cinemas. These 'discount cinemas' often have films with slight imperfections due to their age (Titanic was screening in these budget theatres six months after its release date!)

MAVtech's collection holds many cinema slides- but this is one of the most intriguing. Unlike almost every other slide it has no writing on it (including on the edges) and is striking arranged with lots of 'blank space'. 

What was it used for?

It is impossible to be certain- but it probably celebrated the victory of the British Empire after World War One. The slide was found in a box with many other First World War slides, including one celebrating the victory. Although New Zealand's flag was flown by ships since 1869 (and was 'official' since 1902) it wasn't formally flown in battle until the Second World War, so the presence of the Imperial Union Jack would have made a lot of sense on a local slide. 

(The New Zealand flag was flown during the Gallipoli campaign at Quinn's Post- however this was unofficial and not ordered by the military command).

Britannia, the human personification of Britain, sits at the bottom of the slide.

The Volkswagen Type 3 (1500) was introduced in 1961 and would have been a fancy vehicle to have in your New Zealand driveway- IF you had overseas funds! To protect the local car assembly industry, most car buyers could only purchase a locally made model (and would face a long waiting list). BUT- if you held money overseas and could afford the import tariffs you could import a fully assembled car through a dealer much more quickly. You often got an exotic model which was not common locally.

If you had lots of money overseas (such as a farmer who sold wool in the UK) then you could import a car, sell it for more than you paid for it and then buy another! Little wonder that when John Clarke's comic creation Fred Dagg did a spoof of 'God Save The Queen' he added 'long live our overseas funds'. By the time those words were sung the requirements for importing a car had loosened somewhat, but overseas funds were still an advantage.

Birds Garage was established by Mister H. Bird in 1940 and by the time this slide was made it was owned by N.H Bird. They were among the first Volkswagen dealers in the country. By 1981 the firm had sold Toyotas for some years. 

Kodacolor was one of the first colour print films- meaning that the finished photos were put into an album or picture frame instead of being projected onto a wall (i.e. slide film). Kodacolor was introduced in 1942, but the war meant that it wasn't widely available until the 1950s.

Unlike slide film, print film tends to be a bit more tolerant of mistakes in exposure- hence why the ad promoted that 'any camera' could use it- even the simple snapshot models which didn't have the controls to cope with slide film. But, because making prints from negatives cost a lot of money, most colour film photographers still used slide film.

All this was only relevant if you could afford colour film at all- up until the late 1950s many snapshooters stuck with black and white. However, by the mid 1970s over 90% of snapshots taken in Western Countries were in colour. Cheaper processing meant that at lots of these were now print films.

The original Kodacolour print film was discontinued in 1963, so we know that this slide was made before then. The 'Kodacolour' name was still being used for colour films right up until the end of the 1980s.

A 1950s advertisement for Langtry's Pharmacy boasts of their photo developing service which could return your film in twenty four hours. Online records suggest that Langtry's shop was demolished in 1975, but this is to be confirmed.

With cinema advertising slides appearing onscreen for only a few seconds, a bright bold design was essential! A witty pun was sometimes used to grab attention. This slide ticks all the boxes. 

A 'George Cooper' ran a hairdressing salon on Oxford Street and was advertising in the local paper in 1939. It is possible that this is the same business.  The hair style and hand colouring certainly looks to be from this era, but it is difficult to be sure.

Kete records show that this company was owned by Lance Osborne and was trading in the mid 1960s. A big feature of the fleet was the fitting of 'radio telephone'- an early name for the CB 'Citizens Band' radios which kept travellers in touch before cell phones. They were all the rage for enthusiasts in the 1970s and 1980s, spurred along by movies about truck drivers!

This dealership was owned by none other than Ron Frost, a New Zealand motorsport legend who not only raced cars in Levin and around the country but who also organised races and attracted new motorsport talent to New Zealand.

Ron Frost was born in England and served in the British Army during the Second World War- including many years as a POW until he escaped a German prisoner of war camp in 1945.

Frost Motors started out selling new cars from the Rootes group (including Hillmans, Humbers and Sunbeams) but they later opened a used car yard near their first location. The new car showrooms and petrol pumps were on Oxford Street South. The used car lot was on Oxford Street North. The business remained in the family until the late 1970s.

There is a wealth of knowledge about Ron Frost online.

The car on the slide has a number plate which reads '1966' which is a great indication of when this slide was made!