This research is a creative exploration of transmedia’s ability to offer up a model of distribution and audience engagement for political documentary. Transmedia, as is well known, is a fluid concept. It is not restricted to the activities of the entertainment industry and its principles also reverberate in the practice of political and activist documentary projects. This practice-led research draws on data derived from the production and circulation of Obrero, an independent transmedia documentary. The project explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. Obrero began as a film festival documentary that co-exists with two other new media iterations, each reaching its respective target audience: a web documentary, and a Facebook-native documentary. This study argues that relocating the documentary across new media spaces not only expands the narrative but also extends the fieldwork and investigation, forms like-minded publics, and affords the creation of an organised hub of information for researchers, academics and the general public. Treating documentary as research can represent a novel pathway to knowledge generation and the present case study, overall, provides an innovative model for future scholarship.
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.
The extent of liquefaction in the eastern suburbs of Christchurch (Aranui, Bexley, Avonside, Avonhead and Dallington) from the February 22 2011 Earthquake resulted in extensive damage to in-ground waste water pipe systems. This caused a huge demand for portable toilets (or port-a-loos) and companies were importing them from outside Canterbury and in some instances from Australia. However, because they were deemed “assets of importance” under legislation, their allocation had to be coordinated by Civil Defence and Emergency Management (CDEM). Consequently, companies supplying them had to ignore requests from residents, businesses and rest homes; and commitments to large events outside of the city such as the Hamilton 400 V8 Supercars and the Pasifika Festival in Auckland were impacted. Frustrations started to show as neighbourhoods questioned the equity of the port-a-loos distribution. The Prime Minister was reported as reassuring citizens in the eastern suburbs in the first week of March that1 “a report about the distribution of port-a-loos and chemical toilets shows allocation has been fair. Key said he has asked Civil Defence about the distribution process and where the toilets been sent. He said there aren’t enough for the scale of the event but that is quickly being rectified and the need for toilets is being reassessed all the time.” Nonetheless, there still remained a deep sense of frustration and exclusion over the equity of the port-a-loos distribution. This study took the simple approach of mapping where those port-a-loos were on 11-12 March for several areas in the eastern suburbs and this suggested that their distribution was not equitable and was not well done. It reviews the predictive tools available for estimating damage to waste water pipes and asks the question could this situation have been better planned so that pot-a-loo locations could have been better prioritised? And finally it reviews the integral roles of communication and monitoring as part of disaster management strategy. The impression from this study is that other New Zealand urban centres could or would also be at risk and that work is need to developed more rational management approaches for disaster planning.
