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Images, UC QuakeStudies

A scanned copy of a photograph of the garden of Di Madgin's former home in the Red Zone, taken before the earthquakes. She describes the scene in the photograph as, "This is the courtyard that we made, to have an eating place at the back of the house. The tree in the neighbours' was a tree that Pete's brother stole on a school trip up in the mountains from a national park. They planted this red beech in the garden. It became the neighbourhood bird tree and the sound was fantastic in the evenings."

Images, UC QuakeStudies

The Arts Centre photographed shortly after the 22 February 2011 earthquake. A large crack can be seen in the tower and part of the brickwork around the clock has collapsed onto the pavement below. Scaffolding was placed up against the building after the 4 September 2010 earthquake and the gable was braced with wooden planks. This probably limited the damage to this part of the building. The building has been cordoned off with tape reading, 'Danger keep out'. A sign in front of the door reads, 'Site closed'.

Images, UC QuakeStudies

A photograph of All Right? corflute signs on cordon fences in Rangiora. The signs are from phase 2 of the All Right? campaign, which sought to promote the 'Five Ways To Wellbeing' by asking simple, open-ended questions related to wellbeing. All Right? posted the photograph on their Facebook page on 22 October 2013 at 1.23pm. This was captioned, "Not even this week's nor-westers could dent the enthusiasm of these little fellas".

Images, UC QuakeStudies

A photograph of the Townsend Telescope in the Observatory at the Christchurch Arts Centre. In the bottom right-hand corner of the photograph is a pulley for the telescope's clock drive. This is one of the pieces that went missing when the Observatory tower collapsed in the 22 February 2011 earthquake. This image was used by Graeme Kershaw, Technician at the University of Canterbury Department of Physics and Astronomy, to identify the telescope's parts after the 22 February 2011 earthquake.

Other, UC QuakeStudies

A zip file containing the suite of SCIRT CAD customisation tools. This file contains:SCIRT CAD LISP routines (198 files)SCIRT CAD dialogue box filesa complete set of layer listsa full set of text files containing the complete list of street names in Christchurchtemplates and lists used for translating 12d outputs to useable dwg reference filesa full set of SCIRT CAD manualsThis file is not sufficient for someone to set up a full SCIRT CAD System, but it will allow a developer to select tools to incorporate with an existing system.

Research papers, University of Canterbury Library

Background Liquefaction induced land damage has been identified in more than 13 notable New Zealand earthquakes within the past 150 years, as presented on the timeline below. Following the 2010-2011 Canterbury Earthquake Sequence (CES), the consequences of liquefaction were witnessed first-hand in the city of Christchurch and as a result the demand for understanding this phenomenon was heightened. Government, local councils, insurers and many other stakeholders are now looking to research and understand their exposure to this natural hazard.

Images, eqnz.chch.2010

Yes, it was a joke. The tours, that is, not the yard filled with earthquake-caused sand volcanos. They were very real. You can see one covering the driveway in this photo. The signs read as follows. "Tours run 1/2 hourly. $5.25 admission. Eftpos unavailable." "If you think this is bad... you should see the back!"

Videos, UC QuakeStudies

A video of a presentation by Jai Chung during the Staff and Patients Stream of the 2016 People in Disasters Conference. The presentation is titled, "A Systematic Review of Compassion Fatigue of Nurses During and After the Canterbury Earthquakes".The abstract for the presentation reads as follows: Limited research is currently available about compassion fatigue of health professionals during and after disasters in New Zealand. The purpose of this systematic literature review was to provide a comprehensive outline of existing research. National and international literature was compared and contrasted to determine the importance of recognising compassion fatigue during and after disasters. Health professionals responding to disasters have played an important role in saving lives. Especially, during and after the Canterbury earthquakes, many health professionals cared for the traumatized public of the region. When responding to and caring for many distressed people, health professionals - particularly nurses - may strongly empathise with people's pain, fear, and distress. Consequently, they can be affected both emotionally and physically. Nurses may experience intensive and extreme distress and trauma directly and indirectly. Physical exhaustion can arise quickly. Emotional exhaustion such as hopelessness and helplessness may lead to nurses losing the ability to nurture and care for people during disasters. This can lead to compassion fatigue. It is important to understand how health professionals, especially nurses, experience compassion fatigue in order to help them respond to disasters appropriately. International literature explains the importance of recognising compassion fatigue in nursing, and explores different coping mechanisms that assist nurses overcome or prevent this health problem. In contrast, New Zealand literature is limited to experiences of nurses' attitudes in responding to natural disasters. In light of this, this literature review will help to raise awareness about the importance of recognising and addressing symptoms of compassion fatigue in a profession such as nursing. Gaps within the research will also be identified along with recommendations for future research in this area, especially from a New Zealand perspective. Please note that due to a recording error the sound cuts out at 9 minutes.

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.