
Photograph captioned by BeckerFraserPhotos, "Nearly everyone in the vicinity of the Hotel Grand Chancellor is focused upon the demolition activities".
A panel being lowered by a crane during the deconstruction of the Hotel Grand Chancellor.
A panel being lowered by a crane during the deconstruction of the Hotel Grand Chancellor.
A panel being lowered by a crane during the deconstruction of the Hotel Grand Chancellor.
A panel being lowered by a crane during the deconstruction of the Hotel Grand Chancellor.
A story submitted by Anonymous to the QuakeStories website.
Photograph captioned by BeckerFraserPhotos, "Bedford Row".
Photograph captioned by BeckerFraserPhotos, "Oxford Terrace".
Workers and a police officer stand next to diggers and a Road Closed sign at the intersection of Victoria Street and Bealey Avenue, seen from Papanui Road.
A house in Richmond being demolished. Workers stand on the driveway, which is scattered with broken bricks. The photographer comments, "The end of 393 River Rd".
Strengthening work being undertaken by two workers suspended over the gable of the Wesleyan Methodist Church on the corner of Colombo and Brougham Street in Sydenham.
A view looking west down High Street from the intersection with Tuam. Workers in high visibility jackets and hard hats can be seen behind the fences.
The pulpit of the Durham Street Methodist Church. The scaffolding around it has been constructed to allow workers to remove the church's historic and valuable organ.
A photograph of workers from ADT Security sitting outside the temporary Civil Defence headquarters set up at the Mainland Foundation Ballpark after the 4 September earthquake.
A worker entering The Frame Workshop through a window on the second storey via a ladder. Fencing has been placed around the entrance to the building.
Workers from Christchurch Earthquake Recovery Authority (CERA) are among the crowd at a memorial service in Latimer Square on the anniversary of the 22 February 2011 earthquake.
A photograph captioned by BeckerFraserPhotos, "Drainage worker monitoring what the robotic camera sees as it moves along the drain beneath Kirsten Place in New Brighton".
Workers repairing water mains along Galbraith Avenue in Avonside. A blue pipe carrying a temporary water supply to the neighbourhood can be seen running across the park.
A worker stands on a ladder to disconnect a gas supply from the side of a house in Richmond. The photographer comments, "Removing a gas water heater".
Photograph captioned by BeckerFraserPhotos, "Ballantynes in Cashel Mall".
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.
A worker walking past demolition rubble that used to be the Lava Bar on London Street in Lyttelton. A digger claw can be partially see on the left.
Photograph captioned by BeckerFraserPhotos, "Some CBD worker with a great sense of humour has put this together outside the Work and Income office in High Street".
Cracks along the footpath along Avonside Drive. In the distance workers are digging up the road. Road cones line the street and a "road closed" sign is visible.
A story submitted by Amanda Fuller to the QuakeStories website.
Photograph captioned by BeckerFraserPhotos, "Oxford Terrace from Cashel Street (Bridge of Remembrance)".
Photograph captioned by BeckerFraserPhotos, "164-170 Hereford Street with the tell-tale gravel spread on the roadway signalling imminent demolition".
A photograph captioned by BeckerFraserPhotos, "A view looking east along Armagh Street, empty sites to the left and right. Road crew in the distance can be seen working on Madras Street".
Victoria Apartments demolition is under way on a walk around the city to find out what is happening in the city. Feb 17, 2014 Christchurch New Zealand. "soft-stripped", which means that any remaining belongings will be removed, as well as furnishings and internal walls.
A house in Richmond being demolished. A worker hoses down rubble in the back of a truck to prevent dust. The photographer comments, "The end of 393 River Rd".