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Images, UC QuakeStudies

Workers digging up the road on the corner of Avonside Drive and Retreat Road in Avonside, with road cones and "Road Closed" sign, after the September 4th earthquake.

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.

Images, eqnz.chch.2010

Victoria Apartments demolition is under way on a walk around the city to find out what is happening in the city. Feb 17, 2014 Christchurch New Zealand. "soft-stripped", which means that any remaining belongings will be removed, as well as furnishings and internal walls.

Images, Alexander Turnbull Library

Two men discuss in a pub the problem that Christchurch has about how to house all the workers arriving to rebuild the city. One of them suggests the solution found for the workers on the Manapouri Dam which was housing them on cruise liners. Context: One solution has been provided by the Defence Force who are leasing 42 derelict NZDF houses next to Burnham Military Camp. Colour and black and white versions available Quantity: 2 digital cartoon(s).