A written history of 222 High Street, known as the "Stewart Dawson" building.
A written history of 128-130 Lichfield Street.
A written history of 146-172 High Street.
A written history of 161 Cashel Street, the Hotel Grand Chancellor.
A written history of 243-245 Madras Street, the CTV Building.
Slides from a presentation by Dr Bernard Walker at UC CEISMIC's Contestable Fund mini-conference. The presentation was titled, "Building Organisational Resilience: the role of HRM in post-disaster recovery".
A presentation by Dr David Conradson at UC CEISMIC's Contestable Fund mini-conference. The presentation was titled, "Stories of Movement: experiences of disruption and adjustment in a post-quake city".
Slides from a presentation by Dr Anne Soutter at UC CEISMIC's Contestable Fund mini-conference. The presentation was titled, "Reflection Collection: digitally capturing student coursework from UC's ChCh101".
A presentation by Dr Bernard Walker and Rosemary Baird at UC CEISMIC's Contestable Fund mini-conference. The presentation was titled, "Building Organisational Resilience: the role of HRM in post-disaster recovery".
A photograph of CEISMIC Digital Content Analyst Alexandra King and the Canterbury Cultural Recovery Centre intern, Moya Sherriff, discussing the collections. In the background is material from the Kaiapoi Museum's collection.
The UC CEISMIC Canterbury Earthquakes Digital Archive contains tens of thousands of high value cultural heritage items related to a long series of earthquakes that hit Canterbury, New Zealand, from 2010 - 2012. The archive was built by a Digital Humanities team located at the center of the disaster in New Zealand's second largest city, Christchurch. The project quickly became complex, not only in its technical aspects but in its governance and general management. This talk will provide insight into the national and international management and governance frameworks used to successfully build and deliver the archive into operation. Issues that needed to be managed included human ethics, research ethics, stakeholder management, communications, risk management, curation and ingestion policy, copyright and content licensing, and project governance. The team drew heavily on industry-standard project management methods for the basic approach, but built their ecosystem and stakeholder trust on principles derived directly form the global digital humanities community.
Slides from a presentation by Dr David Conradson at UC CEISMIC's Contestable Fund mini-conference. The presentation was titled, "Stories of Movement: experiences of disruption and adjustment in a post-quake city".
UC Quake Box set up in the Facilities Management yard to record people's quake stories for the Ceismic project. From Left: Kris Vavasour, Yena Wei, Andrew Dean, Liz Grant, Andrew MacFarlane.
This reminder of the South Island's wealth and the importance of the Catholic Church was badly damaged by the Christchurch earthquakes.
This maritime relic fell victim to the 2010/11 Canterbury earthquakes.
These magnificent buildings are protected by legislation but were badly damaged by the Christchurch earthquakes.
Members of the UC CEISMIC team, Han Li and Lucy-Jane Walsh, find the correct position to view Mike Hewson's installation "Deconstruction" from. This artwork gives the illusion that the walkway has been removed.
Members of the UC CEISMIC team, Han Li and Lucy-Jane Walsh, find the correct position to view Mike Hewson's installation "Deconstruction" from. This artwork gives the illusion that the walkway has been removed.
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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.
UC Quake Box set up in the Facilities Management yard to record people's quake stories for the Ceismic project. Peter Smeele and Rose Crossland read through the paperwork before telling their stories, while Kris Vavasour and Jacquie Walters look on.
The Ballantynes' Department Store fire in November 1947 claimed 41 lives and left a lasting scar on Christchurch — the city’s biggest single disaster until the 2011 earthquake. The events of that spring day are explored in this short film which intersperses archive footage with a fictional account of workers and customers in the tailoring department as the dramas of everyday life are suddenly overwhelmed. It was directed by Aileen O’Sullivan, shot by Alun Bollinger and made with the NZ Drama School graduating class of 2002 (with music by Gareth Farr).
New Brighton beach in Christchurch: Peter Donnelly is busy creating art, art with a lifespan that can be measured in hours. Using a rake and a piece of wood, Donnelly draws elaborate artworks in the sand - more than 700 of them to date. "I bring something to life, and then its life is over, and at the end of the four hours it wants to go, it's worn out ... it just wants to be gifted, and it goes to the sea." Beautifully shot by director Peter Young, this Artsville documentary captures Donnelly both in action, and musing on the beauty of impermanence.
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.
The movie that won splatter king Peter Jackson mainstream respectability was born from writer Fran Walsh's long interest in the Parker-Hulme case: two 1950s teens who invented imaginary worlds, wrote under imaginary personas, and murdered Pauline Parker's mother. Jackson and Walsh's vision of friendship, creativity and tragedy was greeted with Oscar nominations, deals with indie company Miramax, and rhapsodic acclaim for the film, and newbie actors Melanie Lynskey and Kate Winslet. Time magazine and 30 other publications named it one of the year's 10 best films.
Peter Jackson’s fifth feature is a playful blend of comedy, thriller and supernatural horror and was an effective Hollywood calling card for Weta FX. Frank Bannister (Michael J Fox) resides in Fairwater, where he runs a supernatural scam. Aided by some spectral consorts, he engineers hauntings and “exorcises” the ghosts for a fee. When a genuine spook starts knocking off the locals, the FBI suspects Frank is the culprit. To clear his name, Frank must deal to the real perpetrator – none other than the Grim Reaper ...
Set during the 1974 Commonwealth Games, The Games Affair was a thriller fantasy series for children. Remembered fondly by many who were kids in the 70s, the story follows three teenagers who battle a miscreant professor who's experimenting on athletes with performance enhancing drugs. This first episode include some SFX jumping sheep; John Bach as a blonde, grunting villain, and a youthful Elizabeth McRae. It was NZ telly's first children's serial, the first independently produced long-form drama, and an early credit for producer John Barnett.
We’ll never know why the thirteen people whose corpses were discovered in Pompeii’s Garden of the Fugitives hadn’t fled the city with the majority of the population when Vesuvius turned deadly in AD79. But surely, thanks to 21st century technology, we know just about everything there is to know about the experiences of the people who went through the Canterbury Earthquakes. Or has the ubiquity of digital technology, combined with seemingly massive online information flows and archives, created a false sense that Canterbury’s earthquake stories, images and media are being secured for posterity? In this paper Paul Millar makes reference to issues experienced while creating the CEISMIC Canterbury Earthquakes Digital Archive (www.ceismic.org.nz) to argue that rather than having preserved all the information needed to fully inform recovery, the record of the Canterbury earthquakes’ impacts, and the subsequent response, is incomplete and unrepresentative. While CEISMIC has collected and curated over a quarter of a million earthquake-related items, Millar is deeply concerned about the material being lost. Like Pompeii, this disaster has its nameless, faceless, silenced victims; people whose stories must be heard, and whose issues must be addressed, if recovery is to be meaningful.
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TVNZ's long running religious and choral music programme visits Christchurch's Anglican cathedral. Before its devastation by earthquakes, it was the centre of the city and one of the most celebrated of its great Gothic buildings. It could also claim to be "the most visited, the most accessible and best known church in New Zealand". Host Graeme Thomson explores the cathedral, its chapels and bell tower and outlines its history. He interviews Dean John Bluck and introduces hymns and songs of praise sung by the cathedral's choir and an ecumenical congregation.