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Images, UC QuakeStudies

A photograph of people gathered in the Christchurch Transitional Cathedral, otherwise known as the Cardboard Cathedral. The audience is listening to Johnny McFarlane of Beca talking about project management of transitional architecture. The talk was part of a tour of the Cathedral, during FESTA 2013.

Videos, UC QuakeStudies

A video of a play produced and performed by students from Avonside Girls' High School. The play was created for the Theater Federation One Act Play Festival, on the topic of the Christchurch rebuild. The students modeled the play on the epic theatre style, aiming to emotionally affect and enact change in their audience.

Images, UC QuakeStudies

A photograph of Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40 foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of a crowd watching Struan Ashby from Tape Art NZ create the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, UC QuakeStudies

A photograph of Erica Duthy and Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.

Images, Canterbury Museum

One landscape colour digital photograph taken on 6 September 2011 showing the temporary theatre erected on the site of the Volcano Café on London Street for a production of Macbeth by The Loons Circus Theatre Company. The green canopy supported on shipping containers was used to shelter the audience. The stage area was the demolition site partia...

Audio, Radio New Zealand

The Earthquake Commission (EQC) criticised for misleading and inadequate measurements on housing foundations when assessing damage to Canterbury homes; Wellington historic building champions vow to save heritage structure in the capital; the spread of didymo in Fiordland; Defence Force sentencing today after drowning last year; the censorship of Maniac, arty audiences only please, and; the PM changes tack on working with NZ First.

Images, UC QuakeStudies

Lyttelton band, Runaround Sue, performing at Gap Filler's "Film in the Gap!" project in Beckenham. Gap Filler have enclosed one side of the site with a fence made of old metal bed heads. The fence has been decorated with fairy lights. Other decorations to the project sight includes the brightly coloured bunting above the audience, which is attached to the wall of Beckenham's Mitre 10.

Images, UC QuakeStudies

University of Canterbury Vice-Chancellor Rod Carr addressing a local musician inside the UCSA's "Big Top" tent. The tent was erected in the UCSA car park to provide support for students in the aftermath of the 22 February 2011 earthquake. The audience is made up of students who have spent the day clearing liquefaction from Christchurch properties as part of the Student Volunteer Army.

Research papers, The University of Auckland Library

This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.

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.

Videos, NZ On Screen

New Zealand television's longest running children's show turns 30 with a two hour live extravaganza — far removed from its modest, half hour beginnings back in 1981. Current hosts Charlie, Johnson and Gem are joined by a parade of past presenters who reminisce, and compete to find the show's best decade. Masterchef finalist Jax Hamilton provides snacks, and celebrities send greetings. In amongst the cupcakes, gunge, fart jokes and mayhem, the programme enters its fourth decade as an institution, watched by the children of its original audience.

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.

Videos, NZ On Screen

A Week of It was a pioneering comedy series that entertained and often outraged audiences over three series from 1977 to 1979. The writing team, led by David McPhail, AK Grant, Jon Gadsby, Bruce Ansley, Chris McVeigh and Peter Hawes, took irreverent aim at topical issues and public figures of the day. Amongst notable impersonations was McPhail's famous aping of Prime Minister Rob Muldoon; a catchphrase from a skit — "Jeez, Wayne" — entered NZ pop culture. The series won multiple Feltex Awards and in 1979 McPhail won Entertainer of the Year.  

Audio, UC QuakeStudies

An audio recording of a mayoral debate hosted by Generation Zero in partnership with 350 Christchurch. The event was titled Mayoral Debate: a climate-smart Christchurch. It was held on campus at the University of Canterbury on Thursday 22 September, 2016 and was moderated by Catarina Gutierrez of the Ministry of Awesome. The debate was structured as follows: Section 1: Candidates answered set questions sent prior to the event Section 2: Candidates answered set questions they have not seen before Interval Section 3: Candidates answered written questions from the audience (climate-related questions were submitted during the interval and a selection of these were given to the moderator). The audio recording was taken through the University's Echo system.

Audio, Radio New Zealand

An experiment to see if the cast of a play can make friends with their audience in just an hour is the latest project by the country's only theatre company involving people who are - or have been - homeless. As part of the Auckland Fringe Festival, the Hobson Street Theatre Company is working with the Street Choir on That's What Friends Are For.: It's directed by Dr Peter O'Connor from the University of Auckland. He's worked with survivors of natural disasters like the Christchurch earthquakes to help people - especially children - work through the trauma. Lynn Freeman talks with Peter, and with one of the actors, Richard. That's What Friends Are For premieres on Tuesday at the Basement Theatre as part of the Auckland Fringe, before heading to the fringe festivals in Wellington and Dunedin.

Audio, Radio New Zealand

Christchurch's historic Theatre Royal will reopen for business in November, with bookings about to open for the first show, the Royal New Zealand Ballet season of "A Christmas Carol" The 106-year old theatre has been closed for almost four years because of earthquake damage in the 2010 and 2011 earthquakes. The $40million rebuild and restoration project will be completed over the next five months and on 17 November 2014, the 'Grand Old Lady' of New Zealand theatre will reopen her doors for performances. With so few venues for performance left in the city, including the Town Hall out of commission indefinitely, the rebuild of the Theatre Royal is very good news for Christchurch audiences Chief executive Neil Cox explains the process of getting oldest Edwardian theatre in the country back in use and mounting the large scale theatrical productions it has been famous for.

Research papers, University of Canterbury Library

On February 22, 2011, Christchurch-based journalists were jolted out of their normal work routine by a large 6.3 magnitude earthquake that killed 185 people, wrecked the city and forced reporters to reappraise their journalism. This study considers how the earthquake affected journalists’ relationship to the community, their use of sources and news selection. A theory of collective trauma is used to explain the changes that journalists made to their reporting practice. Specifically, Christchurch journalists had a greater identification and attachment to their audience post-earthquake. Journalists viewed themselves as part of the earthquake story, which prompted them to view sources differently, use those sources differently and see advocacy as a keystone of their news work after the disaster. This study adds to a growing scholarship about journalists and trauma, but focuses on what the event meant for local reporters’ choice of sources and news selection rather than measuring rates of psychological distress.