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Images, Alexander Turnbull Library

Aspects of Christchurch life after the earthquakes of 2010 and 2011, modelled on acts performed at the Buskers' Festival being held in Christchurch. Include `Silt walking'through liquefaction; 'Orange zone', representing the paralysis of homeowners whose properties were classified as 'orange', or of undecided status; 'Jugglers "Marryatt" and "Red Zone"': the Christchurch CEO, Tony Marryatt, juggles with money, his large pay rise, while the red-zoned householder juggles with unattractive options; 'The boy [CBD] with red tape all over him', referring to the cordon which was strangling the Central Business District; the columnist Joe Bennett with his dog, refusing to move from his house in Lyttelton, a cause celebre of resistance to the earthquake authorities in those days. Quantity: 1 digital cartoon(s).

Images, UC QuakeStudies

A photograph of Waimarie Rawson-Griffiths (left) and Karuna Thurlow (right) next to a billboard with Thurlow's portrait on it. The billboard is in Hagley Park for the 2015 Te Matatini National Kapa Haka festival, and is part of All Right?'s Te Waioratanga project. All Right? posted the photograph on their Facebook page on 10 March 2015.

Images, UC QuakeStudies

An image advertising a free writing workshop for children aged between 10 and 15. The writing workshop was part of the WORD Christchurch writers festival. The image was used as a profile picture on the All Right? Facebook page. The image was also posted to Facebook by All Right? on 15 July 2014 at 5:31pm.

Videos, UC QuakeStudies

A video made by Julian Vares about FESTA - the Festival of Transitional Architecture. The video includes explanations from FESTA director Jessica Halliday and key collaborators about what FESTA is about, and the important role it plays in the rebuild and recovery of Christchurch. It also includes a compilation of footage from the first three FESTA events of 2012, 2013 and 2014. This footage was shot by Rick Harvie (Belmont Productions), Peter Young (Fisheye Films), Ed Lust and John Chrisstoffels.

Audio, Radio New Zealand

The Canterbury earthquakes have provided the opportunity to reconsider the Christchurch CBD - and arts and culture have often led the discussion. No more so than during the bold biennial weekend celebration of urban creativity which is Festa, which first gave the public access to the red zone back in in 2012. FESTA returns this Labour weekend and joining Mark Amery this week are festival director and architectural historian Doctor Jessica Halliday and Kairaranga or weaver Benita Wakefield, who is part of FESTA project Kono for Kai.

Videos, UC QuakeStudies

A video about the Christchurch Pops Choir which is performing at the Christchurch Arts Festival. The video includes interviews with artistic director Luke Di Somma and president Lee Harris. Di Somma and Harris talk about starting the choir after the 2010 and 2011 Canterbury earthquakes, and singing pop music. The video also includes footage of the choir singing as part of a flash mob at the Christchurch International Airport.

Images, Alexander Turnbull Library

Photographs of people gathered in the grounds of Parliament on 1 March 2011 to observe two minutes silence to remember the people killed in the Christchurch earthquake on 22 February 2011. Arrangement: Images were originally in a folder labelled '2 Minutes Silence for Christchurch Earthquake Mar 1 2011' within the folder '300111 Fairs, Festivals & Protests Jan to July 2011' Quantity: 15 digital photograph(s).

Audio, Radio New Zealand

Ngai Tahu says its people are turning to the tribe for help with legal and engineering advice about their earthquake-damaged homes in Christchurch; The Chairperson of the Maori Midwives Collective Nga Maia, says the earthquake a year ago forced the organisation to start its administrative operations from scratch; Efforts are underway to find out how many Maori left Christchurch after the earthquake; The Ngai Tahu hapu, Ngai Tuahuriri in Christchurch, will be welcoming the Governor-General to Rehua Marae this morning to commemorate the anniversary of last year's earthquake; Christchurch will hear today whether it'll be hosting the biggest Maori performance event on the calendar - Te Matatini National Festival.

Videos, UC QuakeStudies

A video of an interview with Julia Morison, a Christchurch-based artist, about her sculptures in a vacant site on the Christchurch central city. The artwork, titled 'Tree Houses for Swamp Dwellers', took over a year to make and will act as a centrepiece for the Scape Public Art festival, which begins on 27 September 2013. The sculpture was designed to provide a playground for children and a shady spot for workers on their lunch breaks. Morison also talks about how the sculpture was designed to be relocated and reconfigured so that it can be moved to a new location when construction begins on the vacant site.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Research papers, The University of Auckland Library

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.

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.

Research Papers, Lincoln University

Lincoln University was commissioned by the Avon-Otakaro Network (AvON) to estimate the value of the benefits of a ‘recreation reserve’ or ‘river park’ in the Avon River Residential Red Zone (ARRRZ). This research has demonstrated significant public desire and support for the development of a recreation reserve in the Avon River Residential Red Zone. Support is strongest for a unique natural environment with native fauna and flora, healthy wetlands and rivers, and recreational opportunities that align with this vision, such as walking, cycling and water-based sporting and leisure activities. The research also showed support for a reserve that promotes and enables community interaction and wellbeing, and is evident in respondents’ desires for community gardens, regular festivals and markets, and the physical linking of the CBD with eastern suburbs through a green corridor. There is less support for children’s playgrounds, sports fields or open grassed areas, all of which could be considered as more typical of an urban park development. Benefits (willing to pay) to Christchurch residents (excluding tourists) of a recreation reserve could be as high as $35 million each year. Savings to public health costs could be as high as $50.3 million each year. The incorporation or restoration of various ecosystems services, including water quality improvements, flood mitigation and storm water management could yield a further $8.8 million ($19, 600) per hectare/year at 450 ha). Combined annual benefits of a recreational reserve in the ARRRZ are approximately $94.1 million per annum but this figure does not include potentially significant benefits from, for example, tourism, property equity gains in areas adjacent to the reserve, or the effects of economic rejuvenation in the East. Although we were not able to provide costing estimates for park attributes, this study does make available the value of benefits, which can be used as a guide to the scope of expenditure on development of each park attribute.

Research papers, University of Canterbury Library

The extent of liquefaction in the eastern suburbs of Christchurch (Aranui, Bexley, Avonside, Avonhead and Dallington) from the February 22 2011 Earthquake resulted in extensive damage to in-ground waste water pipe systems. This caused a huge demand for portable toilets (or port-a-loos) and companies were importing them from outside Canterbury and in some instances from Australia. However, because they were deemed “assets of importance” under legislation, their allocation had to be coordinated by Civil Defence and Emergency Management (CDEM). Consequently, companies supplying them had to ignore requests from residents, businesses and rest homes; and commitments to large events outside of the city such as the Hamilton 400 V8 Supercars and the Pasifika Festival in Auckland were impacted. Frustrations started to show as neighbourhoods questioned the equity of the port-a-loos distribution. The Prime Minister was reported as reassuring citizens in the eastern suburbs in the first week of March that1 “a report about the distribution of port-a-loos and chemical toilets shows allocation has been fair. Key said he has asked Civil Defence about the distribution process and where the toilets been sent. He said there aren’t enough for the scale of the event but that is quickly being rectified and the need for toilets is being reassessed all the time.” Nonetheless, there still remained a deep sense of frustration and exclusion over the equity of the port-a-loos distribution. This study took the simple approach of mapping where those port-a-loos were on 11-12 March for several areas in the eastern suburbs and this suggested that their distribution was not equitable and was not well done. It reviews the predictive tools available for estimating damage to waste water pipes and asks the question could this situation have been better planned so that pot-a-loo locations could have been better prioritised? And finally it reviews the integral roles of communication and monitoring as part of disaster management strategy. The impression from this study is that other New Zealand urban centres could or would also be at risk and that work is need to developed more rational management approaches for disaster planning.