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Videos, UC QuakeStudies

A video montage of LUXCITY, a city of lights that existed for one night on Saturday 20 October 2012. LUXCITY was the main event of FESTA 2012 and included 16 interactive installations, designed and fabricated by architecture and design students from across New Zealand. The film depicts the construction and set up, through to the public event on Saturday night.

Videos, UC QuakeStudies

A video montage of Canterbury Tales, a carnivalesque procession through the central city, led by Free Theatre Christchurch. The film depicts the construction and set up, through to the main public events. It also includes interviews with Peter Faulkenberg (Canterbury Tales and Free Theatre Christchurch Artistic Director) and George Parker (Canterbury Tales and Free Theatre Christchurch Producer).

Videos, UC QuakeStudies

A film directed by Christchurch East Youth MP Beth Walters, produced and filmed by Lila Gibbens. The film captures the views of more than 50 young people from Aranui High School, Linwood College and Mairehau High School. Students share their answers to the following questions: How do you feel about living in the East? What don't you like about living in the East? What do you want to see more of? What do you like? Do you, as a young person in the East, feel your voice is heard? Would you stay? The film features an original song produced by three Aranui High School students: Cheyenne Thompson (lyrics), Evile Jireh Sisifo Laloata (vocals) and Peni Junior Iva (guitar).

Images, eqnz.chch.2010

The obligatory earthquake damage shot. Taken on Ilford Pan F+ with a Yashica-Mat 124G, developed in ID-11 for 8.5 minutes, printed on Ilford Multigrade IV RC, print developed in Ilford Universal PQ.

Research papers, The University of Auckland Library

This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.

Videos, UC QuakeStudies

A video made by Julian Vares about FESTA - the Festival of Transitional Architecture. The video includes explanations from FESTA director Jessica Halliday and key collaborators about what FESTA is about, and the important role it plays in the rebuild and recovery of Christchurch. It also includes a compilation of footage from the first three FESTA events of 2012, 2013 and 2014. This footage was shot by Rick Harvie (Belmont Productions), Peter Young (Fisheye Films), Ed Lust and John Chrisstoffels.

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.