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 article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.
This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.
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.
Whole document is available to authenticated members of The University of Auckland until Feb. 2014. The increasing scale of losses from earthquake disasters has reinforced the need for property owners to become proactive in seismic risk reduction programs. However, despite advancement in seismic design methods and legislative frameworks, building owners are often reluctant to adopt mitigation measures required to reduce earthquake losses. The magnitude of building collapses from the recent Christchurch earthquakes in New Zealand shows that owners of earthquake prone buildings (EPBs) are not adopting appropriate risk mitigation measures in their buildings. Owners of EPBs are found unwilling or lack motivation to adopt adequate mitigation measures that will reduce their vulnerability to seismic risks. This research investigates how to increase the likelihood of building owners undertaking appropriate mitigation actions that will reduce their vulnerability to earthquake disaster. A sequential two-phase mixed methods approach was adopted for the research investigation. Multiple case studies approach was adopted in the first qualitative phase, followed by the second quantitative research phase that includes the development and testing of a framework. The research findings reveal four categories of critical obstacles to building owners‘ decision to adopt earthquake loss prevention measures. These obstacles include perception, sociological, economic and institutional impediments. Intrinsic and extrinsic interventions are proposed as incentives for overcoming these barriers. The intrinsic motivators include using information communication networks such as mass media, policy entrepreneurs and community engagement in risk mitigation. Extrinsic motivators comprise the use of four groups of incentives namely; financial, regulatory, technological and property market incentives. These intrinsic and extrinsic interventions are essential for enhancing property owners‘ decisions to voluntarily adopt appropriate earthquake mitigation measures. The study concludes by providing specific recommendations that earthquake risk mitigation managers, city councils and stakeholders involved in risk mitigation in New Zealand and other seismic risk vulnerable countries could consider in earthquake risk management. Local authorities could adopt the framework developed in this study to demonstrate a combination of incentives and motivators that yield best-valued outcomes. Consequently, actions can be more specific and outcomes more effective. The implementation of these recommendations could offer greater reasons for the stakeholders and public to invest in building New Zealand‘s built environment resilience to earthquake disasters.
