A photograph captioned by BeckerFraserPhotos, "A residential property on Alice Street in the Horseshoe Lake district".
A photograph captioned by BeckerFraserPhotos, "A residential property on Alice Street in the Horseshoe Lake district".
A photograph captioned by BeckerFraserPhotos, "A residential property on Alice Street in the Horseshoe Lake district".
A photograph captioned by BeckerFraserPhotos, "A residential property on Alice Street in the Horseshoe Lake district".
Photograph captioned by BeckerFraserPhotos, "View from the roof of Alice in Videoland building".
Photograph captioned by BeckerFraserPhotos, "A view looking from Poplar Lane across empty sites to High Street, Alice in Videoland on the left".
Photograph captioned by BeckerFraserPhotos, "A view looking from Poplar Lane across empty sites to High Street, Alice in Videoland on the left".
Photograph captioned by BeckerFraserPhotos, "A view looking from Poplar Lane across empty sites to High Street, Alice in Videoland on the left".
Photograph captioned by BeckerFraserPhotos, "A view looking from Poplar Lane across empty sites to High Street, Alice in Videoland on the left".
Photograph captioned by BeckerFraserPhotos, "The fly tower of the Odeon Theatre in Tuam Street, viewed from Alice in Videoland".
An aerial photograph of Kingsford Street and Alice Street in the Horseshoe Lake area, Burwood.
A photograph captioned by BeckerFraserPhotos, "The corner of Alice Street and Kingsford Street in the Horseshoe Lake district".
Photograph captioned by BeckerFraserPhotos, "Corner High and Manchester Streets, viewed from Alice in Videoland".
A map showing access routes to Alice in Videoland.
Photograph captioned by BeckerFraserPhotos, "A view of Real Groovy from the top of Alice in Videoland".
Photograph captioned by BeckerFraserPhotos, "The view from the top of Alice in Videoland".
Photograph captioned by BeckerFraserPhotos, "Corner of Lichfield and High Street, viewed from Alice in Videoland".
Photograph captioned by BeckerFraserPhotos, "A view from the roof of Alice in Videoland building".
Ronnie van Hout's 'Comin' Down' sculpture stands on the roof of the Alice in Videoland building on Tuam Street.
Photograph captioned by BeckerFraserPhotos, "Looking north-east from Alice in Videoland. IRD Building in the centre distance".
A photograph of the old post office building on the corner of Tuam Street and High Street which housed Alice in Videoland before the 22 February 2011 earthquake.
A photograph captioned by BeckerFraserPhotos, "A residential property on the corner of Kingsford and Alice Street in the Horseshoe Lake district".
A photograph captioned by BeckerFraserPhotos, "A residential property on the corner of Kingsford and Alice Street in the Horseshoe Lake district".
A story submitted by Alice to the QuakeStories website.
A page banner promoting an article titled, "Alice's opens new cinema".
This thesis explores the discussions and perspectives of Christchurch secondary school students in regards to their particular experiences and engagement with Anzac. In this thesis I seek to rigorously and robustly examine these viewpoints through semi-structured focus group interviews and thematic analysis. I seek to situate these youth perspectives within wider debates around Anzac mythology and Anzac resurgence in New Zealand which often do not represent the youth outlook. These debates are seen, on the one hand, to present a resurgence of youth engagement with Anzac and, on the other hand, to present the idea that Anzac has become an exclusionary myth which distorts Australians’ and New Zealanders’ understanding of wider Anzac experiences and educates them in a narrow, militarised way. Youth engagement with Anzac was not something which could be solely situated under either of these debates and, instead, it was seen to be multifaceted and made up of unique ideas and elements. The youth in my study acknowledged that their Anzac education did have mythic elements which made it hard for them to engage with Anzac despite the fact that they were actually interested in learning and understanding it. These mythic elements were the idea that Anzac is taught as a ‘simple narrative’ which does not allow room for critique, that it emphasises a link between Anzac and national identity, that it disregards many alternative Anzac experiences and that it presents a particular New Zealand identity to internalise. These students responded to their mythic Anzac education in a very active way, and instead of accepting it as truth, they were able to have constructive and critical conversations about their education and push against parts of it which they found to be too narrow or skewed in particular directions based on gender, ethnicity and national identity. The students were not passive vessels which internalised their Anzac education as fact; instead, they were able to acknowledge the mythic elements of their education and its negative influence in the classroom. This thesis went further in exploring what factors were seen to enhance this active process of critique and provide students with alternative knowledge and perspectives about Anzac. These factors were ancestral ties to Anzac, research into personal Anzac stories and experiences, unassessed educational units, centenary discussions, an understanding of hardship through the earthquakes and alternative perspectives of the Anzac experience through access to the internet. These factors presented a broader understanding of Anzac perspectives and experiences and students believed that if the mythic elements of their education could be revised and these elements encouraged then their engagement with Anzac would continue long into the future.
This literature review uses research informed by disasters including the Christchurch Earthquakes, Hurricane Katrina, Red River floods, War in Israel and natural disasters in Indonesia to identify key aspects within teacher-student relationships which result in an increase in the emotional stability of our students. These aspects include prior knowledge of students and their development, psycho-social interventions and incorporation of the disaster into the curriculum. Teacher-student relationships are highlighted as vital to a child’s healing and resilience after experiencing disaster trauma.
A photograph of Tuam Street near the High Street intersection. The majority of the buildings along the north side of the street have been demolished. To the left, the Alice in Videoland building can be seen.
Photograph captioned by BeckerFraserPhotos, "Jeremy Stewart of Alice in Videoland holding 'When a City Falls', the film recently released about the 2010 and 2011 Canterbury earthquakes".
Photograph captioned by BeckerFraserPhotos, "The view from the top of Alice in Videoland".