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Images for social media; more images...

Other, UC QuakeStudies

An image promoting the Do A Little Dance workplace challenge, an initiative to encourage physical activity and promote the Body Festival. The image depicts three 'All Righties' dancing and reads, "Do A Little Dance!" followed by a five-step instruction of how to enter Canterbury's 2015 Workplace Dance Challenge. All Right? posted the image on their Facebook page on 8 July 2015 at 3:05pm.

Other, UC QuakeStudies

A PDF copy of an image posted to Facebook to advertise the AWA Trails. The image reads, "Walk, talk and explore the East. To download a free map visit allright.org.nz/AWA today!" All Right? posted the image on their Facebook page on 3 September 2015 at 9:04am. The image was captioned, "To download a free map visit www.AllRight.org.nz/AWA today!".

Research papers, The University of Auckland Library

This article is a critical commentary of how political documentary embodies the traits and functions of alternative journalism. I explore this notion through Obrero (‘worker’) my independent documentary project about the labour migration of Filipino workers to Christchurch, Aotearoa New Zealand, after the earthquake in 2011. This article maps out the points at where the theories and practices of alternative media and documentary intersect. Analysing political documentary as a format of alternative journalism has links to the long tradition of film and video production as a tool for social critique. As a form of practice-based research, Obrero falls under the rubric of alternative journalism—able to represent the politically marginal sectors of the polity and report on issues underreported in the mainstream press. This article concludes that a distribution plan that is responsive to fragmenting audiences works best when alternative journalism no longer targets a niche but transborder audiences.

Images, UC QuakeStudies

An image used to promote the All Right? Buskers festival competition for the 2014 SCIRT World Buskers Festival. The image reads, "The Press: Bringing you the Buskers and a little All Right." The competition was a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'.

Images, UC QuakeStudies

An image used to promote the All Right? Buskers festival competition for the 2014 SCIRT World Buskers Festival. The image reads, "Click here to win with All Right and Buskers." The competition was a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'.

Videos, UC QuakeStudies

A video showing brass players from the Christchurch Symphony Orchestra performing an impromptu concert at PAK'nSAVE Wainoni on March 27 2014. The video captures customers' reactions as the players set up and perform. Customers are also shown receiving PAK'nSAVE shopping vouchers, donated by PAK'nSAVE, by three dancing 'All Righties'. The video and impromptu concert were organised for the 'Outrageous Burst of All Right: BYO CSO'. All Right? encouraged their Facebook followers to share the video on social media and enter the prize-draw for eight $250 PAK'nSAVE vouchers. The Press published the video on 28 March 2013 at 5:45pm. All Right? uploaded the video to their YouTube account on 31 March 2014. The video was shared more than 400 times on social media by the time of the prize-draw on 8 April 2014.

Images, UC QuakeStudies

An image featuring a man in a suit with accessories made from pink straws, which reads, "Win with All Right and Buskers!" The image advertises a social media competition for a family weekend away in Hanmer, which was entered by posting something with the tags '@allrightnz' and '@worldbuskersfestival'. All Right? posted the image on their Facebook Timeline on 17 January 2014 at 3:52pm.

Research Papers, Lincoln University

Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.

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.

Research papers, University of Canterbury Library

Developing a holistic understanding of social, cultural, and economic impacts of disasters can help in building disaster risk knowledge for policy making and planning. Many methods can help in developing an understanding of the impacts of a disaster, including interviews and surveys with people who have experienced disaster, which may be invasive at times and create stress for the participants to relive their experiences. In the past decade, social media, blog posts, video blogs (i.e. “vlogs”), and crowdsourcing mechanisms such as Humanitarian OpenStreetMap and Ushahidi, have become prominent platforms for people to share their experiences and impacts of an event from the ground. These platforms allow for the discovery of a range of impact information, from physical impacts, to social, cultural, and psychological impacts. It can also reveal interesting behavioural information such as their decision to heed a warning or not, as people tend to share their experiences and their reactions online. This information can help researchers and authorities understand both the impacts as well as behavioural responses to hazards, which can then shape how early warning systems are designed and delivered. It can also help to identify gaps in desired behavioural responses. This poster presents a selection of cases identified from the literature and grey literature, such as the Haiti earthquake, the Christchurch earthquake, Hurricane Sandy, and Hurricane Harvey, where online platforms were widely used during and after a disaster to document impacts, experiences, and behavioural responses. A summary of key learnings and areas for future research is provided.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.

Images, UC QuakeStudies

A photograph of All Right? Campaign Manager Sue Turner (left), Crusaders coach Todd Blackadder (centre) and Scape Public Art Director Deborah McCormick (right). The photograph was taken at a promotional photo-shoot for #ThatTimeYouHelped. #ThatTimeYouHelped was a social media campaign created in collaboration between All Right? and SCAPE Public Art. The campaign encouraged people to reflect on the people in their lives who have helped them out, by uploading a photograph of them to Instagram or Facebook with the hashtag #ThatTimeYouHelped. Some of the best uploads were part of an installation at the 2015 SCAPE8 Public Art festival.