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Images, UC QuakeStudies

A digitally manipulated image of demolition machinery, with the Hotel So in the background. The photographer comments, "Strange things happen when you use technicolor film".

Images, UC QuakeStudies

Workers seen through a gap between wooden pallets in GapFiller's Pallet Pavillion. The photographer comments, "Though it looks strange and Photoshopped this is a straight shot through pallets painted blue. The Pallet Pavilion is built on the site of the demolished Crowne Plaza Hotel. It was built by volunteers, mainly students and construction engineers over 6 weeks. Here students are being given health and safety instructions before helping out on completing the temporary structure".

Audio, Radio New Zealand

As Chief Executive of Te Runanga o Ngāi Tahu, Arihia Bennett leads a whanau of more than 78,000 iwi members, including their near-$2b worth of assets. She's been in the role for 11 years, overseeing all of Ngāi Tahu's operations, including farming, seafood, tourism and investment. She has also served as Canterbury Earthquake Recovery Commissioner, been on the board of Barnardos NZ and the Christchurch Women's Refuge (now known as Aviva). She is a current member of the Global Women's Network and the Tuahiwi Maori Women's Welfare League. In 2008, she was made a Member of the New Zealand Order of Merit for services to Maori and the community. Arihia Bennett is a social worker by profession, from a whanau steeped in community service. She talks to Susie Ferguson about her leadership style, her vision for Ngāi Tahu and her love of vintage clothes.

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.