The skills agenda has grown in prominence within the construction industry. Indeed, skill shortages have been recognised as a perennial problem the construction industry faces, especially after a major disaster. In the aftermath of the Christchurch earthquakes, small and medium construction companies were at the forefront of rebuilding efforts. While the survival of these companies was seen to be paramount, and extreme events were seen to be a threat to survival, there is a dearth of research centring on their resourcing capacity following a disaster. This research aims to develop workforce resourcing best practice guidelines for subcontractors in response to large disaster reconstruction demands. By using case study methods, this research identified the challenges faced by subcontracting businesses in resourcing Christchurch recovery projects; identified the workforce resourcing strategies adopted by subcontracting businesses in response to reconstruction demand; and developed a best practice guideline for subcontracting businesses in managing the workforce at the organisational and/or project level. This research offers a twofold contribution. First, it provides an overview of workforce resourcing practices in subcontracting businesses. This understanding has enabled the development of a more practical workforce resourcing guideline for subcontractors. Second, it promotes evidence-informed decision-making in subcontractors’ workforce resourcing. Dynamics in workforce resourcing and their multifaceted interactions were explicitly depicted in this research. More importantly, this research provides a framework to guide policy development in producing a sustainable solution to skill shortages and establishing longterm national skill development initiatives. Taken together, this research derives a research agenda that maps under-explored areas relevant for further elaboration and future research. Prospective researchers can use the research results in identifying gaps and priority areas in relation to workforce resourcing.
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.
This thesis explores the intricate relationship between dance and trauma, focusing on how embodied practices facilitate psychological recovery. Dominant narratives often prioritise cognitive experiences, limiting our understanding of healing. By employing a qualitative, post-positivist and critical autoethnographic approach, I reflect on my journey through trauma following the Christchurch earthquakes, utilising journal entries from the point of view of my younger self to illustrate the transformative power of movement and dance. The key themes of this research are structure and routine, socialisation, and alleviation of anxious thoughts, demonstrating how engaging with the body challenges conventional notions of recovery. Furthermore, it highlights the complementary role of Dance Movement Therapy in trauma- informed practices, advocating for a holistic approach that recognises the mind-body connection. The findings underscore the necessity of viewing trauma as an embodied experience and propose a shift toward movement-based therapeutic practices that empower individuals through their lived experiences. Ultimately, this research calls for reimagining therapeutic frameworks, emphasising dance's potential to complement current trauma- informed therapies and promote a bottom-up approach to recovery.
