Search

found 19 results

Audio, Radio New Zealand

Fiona Farrell has been awarded the $100,000 Creative New Zealand Michael King Writer's Fellowship to research and write twin books, one fiction and one non-fiction, inspired by her experiences of the Canterbury earthquakes and the rebuilding of the city.

Audio, Radio New Zealand

Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.

Audio, Radio New Zealand

Urban forager and food writer, Liv Sisson finds all sorts of tasty treats in the Otautahi city centre.With some of the housing and buildings destroyed in the earthquakes, a rewilding has taken place providing a range of edible plants. Liv Sisson gathers produce thriving on berms and near the Avon River.

Audio, Radio New Zealand

Three leading artists: the singer Madeleine Pierard; the children's book illustrator Gavin Bishop and playwright and actor Jacob Rajan discuss why they create work with Paul Bushnell. Awa Press writer Jane Bowron reads from her book Old Bucky & Me: Dispatches from the Christchurch Earthquake.

Images, UC QuakeStudies

An old advertising sign exposed by the demolition of an adjoining building. The photographer comments, "'Protect your investment. Paint your property regularly - and save money. Polson's decorators and sign writers.' The building that was adjacent to this one was demolished after the Christchurch earthquake and revealed this fabulous old wall sign.

Audio, Radio New Zealand

When the 2011 Canterbury earthquakes struck, the region was hit with disaster on an unprecedented scale and the health system was challenged like never before. The injured needed immediate treatment, buildings and equipment were badly damaged, and yet those working in health system rallied to keep it going. Emergency Medicine specialist Dr Mike Ardagh and independent science writer Dr Joanne Deely have written a book, Rising from the Rubble, which tells the stories of those who were part of the health system response, and a record of the long-term issues that have been caused by it.

Audio, Radio New Zealand

Ravenscar House Museum holds an extraordinary, previously private art collection. The new building has been gifted to Christchurch by art collectors Susan Wakefield and her late husband Jim. The art remains in the ownership of the Ravenscar Trust.  Artists in the collection include Colin McCahon, Bill Sutton and Frances Hodgkins. The treasures were previously in the Wakefield's Christchurch home which suffered irreparable earthquake damage. They're now displayed in the purpose-designed and built Ravenscar House Museum in the city's Arts precinct. The story of the art and artefacts is told in in the book - Ravenscar House: A Biography, written by Christchurch journalist and writer Sally Blundell.  

Videos, NZ On Screen

The movie that won splatterking Peter Jackson mainstream respectability was born from writer Fran Walsh's long interest in the Parker-Hulme case: two 1950s teens who invented imaginary worlds, wrote under imaginary personas, and murdered Pauline Parker's mother. Jackson and Walsh's vision of friendship, creativity and tragedy was greeted with Oscar nominations, deals with indie company Miramax, and rhapsodic acclaim for newbie actors Melanie Lynskey and Kate Winslet. Time magazine and 30 other publications named it one of the year's 10 best films. Read more about Heavenly Creatures here.

Videos, NZ On Screen

For her first feature, writer/director Gillian Ashurst (Venus Blue) wanted a “big wide road movie; big skies; big long roads.” Cruising the Canterbury landscapes are small-town dreamers Alice (Heavenly Creature Melanie Lynskey) and Johnny (future Almighty Johnson Dean O’Gorman). The duo’s adventures go awry after encountering a charming American cowboy. Reviews were generally upbeat: there was praise for the talented cast, plus Ashurst’s ability to mix moods and genres. Snakeskin won five awards at the 2001 NZ Film and TV Awards, including Best Film and Cinematography.

Research Papers, Lincoln University

The sample of water referred to in the present note was collected by the writer on the 21st January, 1889, in the Otira Gorge, from a spring which is stated to have been first discovered shortly after the earthquake of the 1st September, 1888. From the results obtained this water might be termed siliceous and sulphurous. It is essentially different from the water from the Hanmer Springs, and pertains more to the character of the waters of the Rotorua district. It differs, however, from these waters in having only a portion of its carbonic anhydride replaced by silica, and in containing less dissolved matter.

Audio, Radio New Zealand

A review of the week's news including... Laila Harre says she is returning to politics to lead the Internet Party because young people, in particular, have been ignored by politicians, Kim Dotcom's US lawyer says a bid by Hollywood's movie studios to have the Internet businessman's assets frozen here is a bid to ensure Mr Dotcom can't win in court in the United States, Fiordland's controversial 240 million dollar monorail is scrapped by the Conservation Minister, documents show WorkSafe New Zealand was still grappling to get on top of asbestos dangers in the Christchurch rebuild nearly two years after the February 2011 earthquake, a train smashes into a concrete barrier at a Lower Hutt station, the New Zealand First leader accuses a South Auckland Maori trust of mis-spending of hundreds of thousands of dollars of taxpayers money, the associate Immigration Minister stands by her decision not to intervene to allow a Fijian man with kidney failure who has since died in Fiji to stay in New Zealand for treatment, a British writer and academic's use of creative writing to help rehabilitate young offenders and sheep on a farm in Queenstown are being covered in a repellent spray to stop them being eaten alive by Kea.

Research papers, University of Canterbury Library

This thesis investigates the relationship between the apocalyptic narrative and the postmodern novel. It explores and builds on Patricia Waugh‟s hypothesis in Practising Postmodernism: Reading Modernism (1992) which suggests that that the postmodern is characterised by an apocalyptic sense of crisis, and argues that there is in fact a strong relationship between the apocalyptic and the postmodern. It does so through an exploration of apocalyptic narratives and themes in five postmodern novels. It also draws on additional supporting material which includes literary and cultural theory and criticism, as well as historical theory. In using the novel as a medium through which to explore apocalyptic narratives, this thesis both assumes and affirms the novel‟s importance as a cultural artefact which reflects the concerns of the age in which it is written. I suggest that each of the novels discussed in this thesis demonstrates the close relationship between the apocalyptic and the postmodern through society‟s concern over the direction of history, the validity of meta-narratives, and other cultural phenomenon, such as war, the development of nuclear weaponry, and terrorism. Although the scope of this thesis is largely confined to the historical-cultural epoch known as postmodernity, it also draws on literature and cultural criticism from earlier periods so as to provide a more comprehensive framework for investigating apocalyptic ideas and their importance inside the postmodern novel. A number of modernist writers are therefore referred to or quoted throughout this thesis, as are other important thinkers from preceding periods whose ideas are especially pertinent. The present thesis was researched and written between March 2010 and August 2011 and is dedicated to all of those people who lost their lives in the apocalyptic events of the February 22nd Christchurch earthquake.

Videos, NZ On Screen

Early Days Yet, directed by Shirley Horrocks, is a full-length documentary about New Zealand poet Allen Curnow, made in the last months of his life. The poet talks about his life and work, and visits the places of some of his most important poems. It includes interviews with other New Zealand poets about Curnow's significance as an advocate for New Zealand poetry. As Curnow famously mused in front of a moa skeleton displayed in Canterbury Museum: "Not I, some child, born in a marvellous year / Will learn the trick of standing upright here."

Research papers, University of Canterbury Library

A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.