Search

found 9 results

Images for DOC; more images...

Manuscripts, Alexander Turnbull Library

A preliminary report with findings from an internet survey conducted in the Christchurch region in the days following the Darfield earthquake. Includes eyewitness accounts of alleged earthquake precursors, such as earthquake lights, atmospheric changes, human responses and erratic animal behaviour. Quantity: 1 Electronic document(s). Provenance: The donor provided the following information: In connection with the M7.1 earthquake at Darfield, September 4th, we collected many accounts of alleged precursors via an internet survey. The resulting report is attached. It is an interesting historical document and you might consider adding it to the National LIbrary collection in some form. About 100 copies have been distributed to those who asked for it. There is no official printed form, it is digital only. The report forms the basis of a scientific paper in preparation but it is already apparent that much of the quoted accounts from survey respondents will have to be left out. The report itself will therefore remain a useful document. We plan to submit the scientific paper to Natural Hazards and Earth Science Systems in due course. The report and paper confirm that some real precursors do exist, but cannot be more specific about causes.

Audio, Radio New Zealand

A new exhibition is simply called " 37". The show is by the photographer Doc Ross, features 37 Christchurch people captured on film using a 37 second exposure. The aim: to reflect the length of time their city shook during February 2011's devastating earthquake. Katy Gosset hears some of the stories behind the exhibition and hits the streets to record her own take on the 37 second concept.

Audio, Radio New Zealand

A review of the week's news including: Prosecutions against thirteen of the seventeen people arrested in police raids in the Ureweras and elsewhere are dropped, the Christchurch earthquake one year on, health officials take expert advice on containing a deadly meningitis outbreak in Northland, a group of Dunedin volunteers are making a photographic record of thousands of the city's old gravestones, more Kiwis will have their calls monitored by researchers at Victoria University and DOC and an enthusiastic Rugby World Cup welcome Tongan style.

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