A photograph of a message on the side of an earthquake-damaged building. The message reads, "Clear. Smell is seafood - confirmed 4 March".
A photograph of an Explore More campervan in Hagley Park.
A photograph of a detail of street art on a building in New Brighton. The artwork consists of political and earthquake-related newspaper clippings pasted to a brick wall.
A photograph of a detail of street art on a building in New Brighton. The artwork consists of political and earthquake-related newspaper clippings pasted to a brick wall.
A copy of Empowered Christchurch's first newsletter, published on 4 September 2014.
A photograph of Ngai Hau e Wha Marae on Pages Road.
A photograph of the earthquake damage to Asko Design on Victoria Street.
A photograph of the earthquake damage to Asko Design on Victoria Street.
A photograph of a New Zealand Army vehicle on Bealey Avenue.
A photograph of a damaged fence near the Greendale fault line in Canterbury.
A photograph of tape along the carpet inside the Crowne Plaza Hotel.
A photograph of a temporary welfare headquarters set up by Civil Defence.
A photograph of tape along the carpet inside the Crowne Plaza Hotel.
A photograph of large cracks in a footpath along the Avon River.
A photograph taken inside Nga Hau e Wha Marae on Pages Road.
A photograph of cracks in a flower bed in a residential garden in Christchurch.
A photograph of a crack across Gayhurst Road near Glennarm Terrace.
A copy of Empowered Christchurch's second newsletter, published on 22 February 2015.
A photograph of Ngai Hau e Wha Marae on Pages Road.
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.
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.
A photograph of volunteers from the Wellington Emergency Management Office in a van.
A photograph of Truly Scrumptious Ltd on Victoria Street, which has no noticeable earthquake damage.
A photograph of the rubble from the demolished Para Rubber building on Manchester Street.
A photograph of volunteers from the Wellington Emergency Management Office in a van.
A photograph of liquefaction around a power pole on Gayhurst Road.
A photograph of volunteers at a temporary Civil Defence Report Centre in Christchurch.
A photograph of several earthquake-damaged houses on Chester Street East.
A photograph of emergency management personnel relaxing outside their campervans in Hagley Park.
A photograph of liquefaction at the entrance to Linwood Avenue from Avonside Drive.