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Research Papers, Lincoln University

The magnitude 7.8 earthquake that struck North Canterbury, on the east coast of New Zealand’s South Island on 14 November 2016 had significant impacts and implications for the community of Kaikōura and surrounding settlements. The magnitude and scope of this event has resulted in extensive and ongoing geological and geophysical research into the event. The current paper complements this research by providing a review of existing social science research and offering new analysis of the impact of the earthquake and its aftermath on community resilience in Kaikōura over the past five years. Results demonstrate the significant economic implications for tourism, and primary industries. Recovery has been slow, and largely dependent on restoring transportation networks, which helped catalyse cooperation among local hospitality providers. Challenges remain, however, and not all sectors or households have benefited equally from post-quake opportunities, and long-term recovery trajectories continue to be hampered by COVID-19 pandemic. The multiple ongoing and future stressors faced by Kaikōura require integrated and equitable approaches in order to build capability and capacity for locally based development pathways to ensure long-term community resilience.

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.