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Articles, UC QuakeStudies

Canterbury Earthquakes Symposium - Ōtautahi creative spaces: Strengthening the recovery context through a collective arts-based approach This panel discussion was presented by Dr Catherine Savage, Director (Ihi Research) and Kim Morton, Director (Ihi Research) The Canterbury Earthquakes Symposium, jointly hosted by the Department of the Prime Minister and Cabinet and the Christchurch City Council, was held on 29-30 November 2018 at the University of Canterbury in Christchurch. The purpose of the event was to share lessons from the Canterbury earthquakes so that New Zealand as a whole can be better prepared in future for any similar natural disasters. Speakers and presenters included Greater Christchurch Regeneration Minister, Hon Dr Megan Woods, Christchurch Mayor, Lianne Dalziel, Ngāi Tahu chief executive, Arihia Bennett, head of the public inquiry into EQC, Dame Sylvia Cartwright, urban planner specialising in disaster recovery and castrophe risk management, Dr Laurie Johnson; Christchurch NZ chief executive and former Press editor, Joanna Norris; academic researcher and designer, Barnaby Bennett; and filmmaker, Gerard Smyth. About 300 local and national participants from the public, private, voluntary sectors and academia attended the Symposium. They represented those involved in the Canterbury recovery effort, and also leaders of organisations that may be impacted by future disasters or involved in recovery efforts. The focus of the Symposium was on ensuring that we learn from the Canterbury experience and that we can apply those learnings.

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left) and Martin Trusttum, CPIT Faculty of Creative Arts, giving a talk about ArtBox on the corner of St Asaph Street and Madras Street. The public talk was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left) and Martin Trusttum, CPIT Faculty of Creative Arts, arranging models of the temporary ArtBox gallery on the corner of St Asaph Street and Madras Street. The photograph was taken during a public talk, which was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of Andrew Just from F3 Design (left) and Martin Trusttum, CPIT Faculty of Creative Arts, on the corner of St Asaph Street and Madras Street where the temporary ArtBox gallery is to be constructed. The photograph was taken during a public talk, which was part of FESTA 2012.

Research papers, The University of Auckland Library

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.