We present the initial findings from a study of adaptive resilience of lifelines organisations providing essential infrastructure services, in Christchurch, New Zealand following the earthquakes of 2010-2011. Qualitative empirical data was collected from 200 individuals in 11 organisations. Analysis using a grounded theory method identified four major factors that aid organisational response, recovery and renewal following major disruptive events. Our data suggest that quality of top and middle-level leadership, quality of external linkages, level of internal collaboration, ability to learn from experience, and staff well-being and engagement influence adaptive resilience. Our data also suggest that adaptive resilience is a process or capacity, not an outcome and that it is contextual. Post-disaster capacity/resources and post-disaster environment influence the nature of adaptive resilience.
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.
