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
The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future
The use of post-earthquake cordons as a tool to support emergency managers after an event has been documented around the world. However, there is limited research that attempts to understand the use, effectiveness, inherent complexities, impacts and subsequent consequences of cordoning once applied. This research aims to fill that gap by providing a detailed understanding of first, the cordons and associated processes, and their implications in a post-earthquake scenario. We use a qualitative method to understand cordons through case studies of two cities where it was used in different temporal and spatial scales: Christchurch (2011) and Wellington (Kaikōura earthquake 2016), New Zealand. Data was collected through 21 expert interviews obtained through purposive and snowball sampling of key informants who were directly or indirectly involved in a decision-making role and/or had influence in relation to the cordoning process. The participants were from varying backgrounds and roles i.e. emergency managers, council members, business representatives, insurance representatives, police and communication managers. The data was transcribed, coded in Nvivo and then grouped based on underlying themes and concepts and then analyzed inductively. It is found that cordons are used primarily as a tool to control access for the purpose of life safety and security. But cordons can also be adapted to support recovery. Broadly, it can be synthesized and viewed based on two key aspects, ‘decision-making’ and ‘operations and management’, which overlap and interact as part of a complex system. The underlying complexity arises in large part due to the multitude of sectors it transcends such as housing, socio-cultural requirements, economics, law, governance, insurance, evacuation, available resources etc. The complexity further increases as the duration of cordon is extended.
What does it mean to “be in a mood” at school? This question guides this thesis, which analyses the relationship between young people’s experiences of moods and the discourses and pedagogies of moods they encounter at school. The emotions and moods of young people in Christchurch, New Zealand, have, in recent years, come under considerable scrutiny. A national decline in rates of youth mental health and concern over the lasting psychological effects of the 2010-2011 Christchurch Earthquakes have justified increased attention to and funding for youth mental health promotion and school-based mental health education programs. Drawing on a year-long school ethnography at a public girl’s high school in Christchurch with 22 Year 10 students (age 14-15), this thesis examines how young people interact with state and psychiatric discourses of youth and mental health. It explores how young people integrate and transform these discourses in their experiences and knowledges of moods as they relate to mental health, education, friendships, and the (in)stability of the self in time. Additionally, this thesis proposes an anthropological reconsideration of moods. Developing insights from phenomenological and medical anthropology and bringing them into conversation with ethnographic analysis, the approach to moods in this thesis sees two necessarily interconnected ways in which moods become significant for understanding subjectivity and contemporary society. On the one hand, moods are an integral dimension of phenomenological experience in which it is possible to dwell in affective ambiguities, producing open-ended horizons of experience. On the other hand, young people’s experience of moods is refracted through moods’ medicalised formulation as experience that can be bounded, taxonomized, transformed into kinds of knowledge about the self, and thus acted on in distinct and morally situated ways. Attending to the experience of “being in a mood” at school reveals how medical and psychiatric knowledges are woven into moral experience in the everyday. This moral experience of moods has critical implications for how young people in New Zealand today situate the self in relationships, in the world, and in time, and therefore is particularly revealing for developing anthropological understandings of teenage subjectivity
