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Images, UC QuakeStudies

A photograph of a group of tents set up in Latimer Square next to the Singapore Rescue Team's store and equipment area. Plastic mesh and tape has been placed around the tents as a fence. The tents were used as temporary accommodation for emergency management personnel after the 22 February 2011 earthquake.

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.

Research papers, University of Canterbury Library

We present initial results from a set of three-dimensional (3D) deterministic earthquake ground motion simulations for the northern Canterbury plains, Christchurch and the Banks Peninsula region, which explicitly incorporate the effects of the surface topography. The simu-lations are done using Hercules, an octree-based finite-element parallel software for solving 3D seismic wave propagation problems in heterogeneous media under kinematic faulting. We describe the efforts undertaken to couple Hercules with the South Island Velocity Model (SIVM), which included changes to the SIVM code in order to allow for single repetitive que-ries and thus achieve a seamless finite-element meshing process within the end-to-end ap-proach adopted in Hercules. We present our selection of the region of interest, which corre-sponds to an area of about 120 km × 120 km, with the 3D model reaching a depth of 60 km. Initial simulation parameters are set for relatively high minimum shear wave velocity and a low maximum frequency, which we are progressively scaling up as computing resources permit. While the effects of topography are typically more important at higher frequencies and low seismic velocities, even at this initial stage of our efforts (with a maximum of 2 Hz and a mini-mum of 500 m/s), it is possible to observe the importance of the topography in the response of some key locations within our model. To highlight these effects we compare the results of the 3D topographic model with respect to those of a flat (squashed) 3D model. We draw rele-vant conclusions from the study of topographic effects during earthquakes for this region and describe our plans for future work.