"Search for biographical and service details for over 115,000 New Zealand service men and women from the 19th century till today and especially from World War One and World War Two."
(Auckland War Memorial Museum)
Fig.1  Portrait, WW2, soldier standing in front of jeep, wooden hut, cigarette in hand, wearing beret. Godfrey Perkins 20/641254 at Mizuba 1946.
Fig.2  Group soldiers, Perenchies, Germany. Wilfred B Quennell 1st row standing 4th from left, scanned from copy of original.
"Isuma's films and videos are always based on oral history of the community elders. In the case of The Journals of Knud Rasmussen, the film's storyline is based on the events recounted in Rasmussen's writings, but as the film's co-director Norman Cohn asserts, 'Those events are interpreted through an Inuit point of view ... Like looking at your reflection in the window and seeing through to the other side of the window pane'(Norman Cohn, Secretary-Treasurer, Igloolik Isuma Productions, Montreal, personal communication, October 31, 2004).
Stephen Muecke, Professor of Cultural Studies at the University of Technology in Sydney, has written a great deal about how the form of discourse shapes our understanding of Aboriginal history: 'The main problem for Aboriginal History, as I see it, is to authenticate the appropriate discourse for its transmission. At the moment the 'authentic' accounts of Aboriginal history are firmly locked in academic standard English' (1983). Isuma's unique style of docu-drama counters this privileging of the written word penned by Europeans as the 'authentic,' 'true' historical record.
The films do this by appropriating communication tools to transmit an audiovisual form of Inuit oral history and storytelling to a hybrid audience: Isuma's primary goal is to delight other Inuit, and its secondary goal is to connect with a global media audience. Indeed, Cohn argues that '[Inuit] storytelling as an oral form is most compatible in contemporary form with film-making or theatre' (quoted in Wachowich, 1997a)."
‘Travelling in Layers: Inuit Artists Appropriate New Technologies’ in the Canadian Journal of Communications, Vol. 31, No. 1 (2006). pp 239-246.)
ICA Media Department & MIT Media Lab
[Artifacts of the Presence Era] ran at the ICA gallery in Boston from January 22nd to April 27th of 2003. During that time, a camera and a microphone captured the myriad of images and sounds produced during the exhibition.Like the visible layers of a canyon, witnesses to sedimentary accumulation over time, the layers in Artifacts of the Presence Era tell us a story of past events. Here, the images and sounds produced in the ICA gallery are captured and then visualised as a growing, organic landscape that serves as a historical record. Like its natural counterpart, this process reveals long-term patterns (the rhythm of night and day, periods of great activity or empty silence), while retaining occasionally serendipitous, but often mundane, samples of the passage of life.The project visualised the accumulating layers of data and allowed visitors to navigate the captured images and ambient sounds, peeking back into the history of the gallery.