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Other, National Library of New Zealand

A blog about the Family-owned and run bar in Poplar Lanes, Christchurch - home of live entertainment with bands and DJs, every Thursday to Saturday. Archived instances cover the Canterbury Earthquake when the bar had to close down due to damage.

Audio, Radio New Zealand

Protecting live music venues is taking on a new urgency in Christchurch, with the popular 12 Bar announcing it will close at the end of the month. With people flocking back to live in the central city after the earthquakes, there have been more complaints about noise from entertainment venues. But the local music scene says positive changes are in the works, so residents and live venues can live in harmony. Niva Chittock reports.

Images, Alexander Turnbull Library

Shows Minister for Christchurch Earthquake Recovery Gerry Brownlee delighted with his plan to rebuild Christchurch and to have it paid for buy the PM's casino. Context: Refers to the Christchurch Central Development Unit that Minister for Christchurch Earthquake Recovery Gerry Brownlee has put in place. Refers also to the very controversial deal that Prime Minister John Key has made with Auckland's SkyCity to the effect that SkyCity will pay the full construction cost of a new convention centre - estimated at $350 million, in return for being allowed to add more gaming tables and machines, and extending its licence beyond 2021. Colour and black and white versions of this cartoon are available Quantity: 2 digital cartoon(s).

Audio, Radio New Zealand

Topics - If you like a quiet time, head for the Spanish city of Seville. Seville's silent summer, they're calling this. They've banned outdoor noise. Seville's been noisy; flamenco singers, old men playing dominoes, bar patrons chatting. The city councillors have now banned most of this, and they seem to have support. Gerry Brownlee the Earthquake Recovery Minister will have the final say over what happens to a piece of land near Christchurch airport, on the corner of Memorial Ave and Russley Road. It's currently zoned as rural, but industrial development could be on the cards. The NYT wonders why with so much violence in movies and games, the big Comic-con pop entertainment convention in San Diego is so peaceful. John Banks snapped phone-driving, we saw at the weekend. John Banks accused of breaking the law again, this time for using a cellphone while driving.

Research Papers, Lincoln University

Queenstown and Christchurch are twin poles of New Zealand's landscape of risk. As the country's 'adventure capital', Queenstown is a spectacular landscape in which risk is a commodity. Christchurch's landscape is also risky, ruptured by earthquakes, tentatively rebuilding. As a far-flung group of tiny islands in a vast ocean, New Zealand is the poster-child of the sublime. Queenstown and Christchurch tell two different, yet complementary, stories about the sublime. Christchurch and Queenstown are vehicles for exploring the 21st-century sublime, for reflecting on its expansive influence on shaping cultural landscapes. Christchurch and Queenstown stretch and challenge the sublime's influence on the designed landscape. Circling the paradoxes of risk and safety, suffering and pleasure, the sublime feeds an infinite appetite for fear as entertainment, and at the same time calls for an empathetic caring for a broken landscape and its residents.

Research papers, The University of Auckland Library

This research is a creative exploration of transmedia’s ability to offer up a model of distribution and audience engagement for political documentary. Transmedia, as is well known, is a fluid concept. It is not restricted to the activities of the entertainment industry and its principles also reverberate in the practice of political and activist documentary projects. This practice-led research draws on data derived from the production and circulation of Obrero, an independent transmedia documentary. The project explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. Obrero began as a film festival documentary that co-exists with two other new media iterations, each reaching its respective target audience: a web documentary, and a Facebook-native documentary. This study argues that relocating the documentary across new media spaces not only expands the narrative but also extends the fieldwork and investigation, forms like-minded publics, and affords the creation of an organised hub of information for researchers, academics and the general public. Treating documentary as research can represent a novel pathway to knowledge generation and the present case study, overall, provides an innovative model for future scholarship.