A photograph of cracks along a street in Christchurch. A road cone has been placed over a crack as a warning for road users.
A photograph of the alleyway between to buildings in Christchurch. A chimney has fallen off the roof of one of the buildings and landed in the alleyway. One of the screens from the archway above has come with it.
A photograph of the earthquake damage to the windows of a building on Manchester Street.
A photograph of the earthquake damage to a group of shops on Manchester Street. The outer walls of the upper storeys of the shops have collapsed, the bricks spilling onto the street.
A photograph of the earthquake damage to Grenadier House on Madras Street. The glass windows have shattered and the section of wall between has buckled.
A photograph of a seating area on the ground floor of the Crowne Plaza Hotel. Dust and other debris is scattered across the carpet. A plate has fallen off the table and broken on the floor.
A photograph of a sign taped to a window. The sign includes a bullet pointed list of humorous observations about Christchurch following the February 2011 earthquake. The sign reads, "You know you're from Christchurch when: you use the term 'liquefaction' and 'seismic design' in casual conversation; digging a hole and shitting in your garden is no longer weird; your mayor describes the city as munted. If he means FUBARed, you agree; weaving through car size potholes on the street is no longer weird; a shower is heaven; you have a preference of which kind of silt you'd rather shovel, dry or wet; you see tanks...driving around town; you are always noting what you are under; due to frequent aftershocks during the night, you sleep like a baby - every 10 minutes you wake up and shit yourself".
A photograph of a broken chimney from an earthquake-damaged property lying on the footpath against a tree.
A photograph of the earthquake damage to a room inside a house in Christchurch. Large sections of the plaster have crumbled from the walls, revealing the brick wall underneath.
A photograph of a packet of food supplied to the Student Volunteer Army. The pack includes muesli bars, a Cookie Time cookie, salted peanuts, crackers, a chocolate bar, and other items.
A photograph of a volunteer from the Wellington Emergency Management Office removing food from a Student Volunteer Army box.
A photograph of cars in a driveway which have been crushed by fallen bricks. The bricks came from an earthquake-damaged wall above.
A photograph of cracks in the side of a footpath in Christchurch. A road cone has been placed over the crack in order to warn footpath users.
A photograph of a residential street in Christchurch which is covered in liquefaction. In the distance a sign indicates that the speed limit is 30 kilometres an hour. To the left is a portaloo.
A photograph of the earthquake damage to a house in Christchurch. The roof of the house has collapsed, bringing the top of the front wall down with it.
A photograph of the back of two earthquake-damaged houses on Gloucester Street. The side wall of the house to the right has partially collapsed and the bricks have spilled onto the property to the left. Plastic sheeting has been placed over the roof and the top of the wall to protect against the weather.
A photograph of a broken chimney from an earthquake-damaged property lying on the footpath against a tree.
A photograph of liquefaction in the driveways of properties on Gayhurst Road.
A photograph of a message on the side of an earthquake-damaged building. The message reads, "Clear. Smell is seafood - confirmed 4 March".
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 photograph of volunteers from the Wellington Emergency Management Office in a van.
A photograph of Truly Scrumptious Ltd on Victoria Street, which has no noticeable earthquake damage.
A photograph of the rubble from the demolished Para Rubber building on Manchester Street.
A photograph of volunteers from the Wellington Emergency Management Office in a van.
A photograph of liquefaction around a power pole on Gayhurst Road.
A photograph of volunteers at a temporary Civil Defence Report Centre in Christchurch.
A photograph of several earthquake-damaged houses on Chester Street East.
A photograph of emergency management personnel relaxing outside their campervans in Hagley Park.
A photograph of liquefaction at the entrance to Linwood Avenue from Avonside Drive.
A photograph of a car stuck in liquefaction on Montreal Street.