title: Young mothers speak out: Young Pākehā women's experiences of motherhood.

authors: Banks, Hannah

subjects: Young mothers

abstract: Early motherhood is a much debated and highly contentious topic. This research aimed to explore young Pākehā women's experiences of motherhood using a feminist qualitative framework. Twelve women, six current young mothers and six former young mothers, were interviewed via focus groups and individual interviews. The analysis revealed that Pākehā culture constructs young mothers as problematic because they challenge the 'traditional' family dominant in Pākehā culture. By having children prior to, rather than after, workforce participation and achieving economic independence, young mothers challenge the prescribed life trajectory for Pākehā women. The women in this study discussed both the positive aspects and the challenges they faced as young mothers. In contrast to common public perceptions and media representations of early motherhood as negative, motherhood positively transformed the women's lives. This was discussed in terms of ceasing destructive activities and gaining motivation to return to education. The young mothers in this study had flexible parenting styles, which allowed them freedom from Pākehā cultural pressure to 'do motherhood' in a particular way. As young mothers, the women had high energy levels and anticipated early future freedom from childcare duties to pursue their dreams. Challenges discussed by the women included incorporating unanticipated early motherhood into long-held life goals, feeling exhausted, having a lack of time for themselves and having too little support. Financial hardship, poverty, judgment and stigma surfaced as major challenges which affected all areas of the women's lives. However, the women also resisted this discrimination by using a range of strategies, which positions them as women with agency, challenging their representation within literature as passive victims. Young women will not use services where they perceive they will be judged for being who they are. As levels of support appear to determine how young women experience motherhood, services have a vital role to play in supporting young mothers. The findings of this study highlighted the complex and contradictory nature of the young mothers' stories, presenting a challenge to simple and stereotypical negative discourses of early motherhood.

text: Young mothers speak out: Young Pākehā women's experiences of motherhood. Early motherhood is a much debated and highly contentious topic. This research aimed to explore young Pākehā women's experiences of motherhood using a feminist qualitative framework. Twelve women, six current young mothers and six former young mothers, were interviewed via focus groups and individual interviews. The analysis revealed that Pākehā culture constructs young mothers as problematic because they challenge the 'traditional' family dominant in Pākehā culture. By having children prior to, rather than after, workforce participation and achieving economic independence, young mothers challenge the prescribed life trajectory for Pākehā women. The women in this study discussed both the positive aspects and the challenges they faced as young mothers. In contrast to common public perceptions and media representations of early motherhood as negative, motherhood positively transformed the women's lives. This was discussed in terms of ceasing destructive activities and gaining motivation to return to education. The young mothers in this study had flexible parenting styles, which allowed them freedom from Pākehā cultural pressure to 'do motherhood' in a particular way. As young mothers, the women had high energy levels and anticipated early future freedom from childcare duties to pursue their dreams. Challenges discussed by the women included incorporating unanticipated early motherhood into long-held life goals, feeling exhausted, having a lack of time for themselves and having too little support. Financial hardship, poverty, judgment and stigma surfaced as major challenges which affected all areas of the women's lives. However, the women also resisted this discrimination by using a range of strategies, which positions them as women with agency, challenging their representation within literature as passive victims. Young women will not use services where they perceive they will be judged for being who they are. As levels of support appear to determine how young women experience motherhood, services have a vital role to play in supporting young mothers. The findings of this study highlighted the complex and contradictory nature of the young mothers' stories, presenting a challenge to simple and stereotypical negative discourses of early motherhood.

year: 2008

title: The Hobbit: The Desolation of Smaug - A New Era of Realism?

authors: Elliott, Darren Jack

subjects: Audience research

abstract: Peter Jackson’s Hobbit trilogy is a familiar blockbuster franchise, adapting a well-known piece of literature and designed to appeal to global audiences. This trilogy, however, is also experimental, as the premium release of each film utilised higher frame rate (HFR) technologies together with computer generated imaging (CGI) and 3D in ways that were intended to extent the apparatus of cinema itself. These technological processes are part of a long line of developments aimed at creating a more compelling cinematic experience (Michelle, Davis, Hight, and Hardy, 2015). 3D film is thought to be the culmination of technological advances in film as the format’s ‘implicit mission was to conquer the entire sensorial complex, to represent reality in its totality’ (Asselin and Gosselin, 2013, p.132). Thus, this thesis focuses on the reception of global audiences to the technological aspects of the second film of The Hobbit franchise, The Desolation of Smaug (2013), focusing on whether 3D HFR quantifiably alters viewers’ viewing experience in terms of improving perceptions of realism and immersion. The research draws from a mixture of qualitative and quantitative methods, including an online survey of 650 respondents across multiple countries and 39 Skype and email follow-up interviews. The responses to and interpretations of a self-selected audience formed the basis of understanding whether these technological advancements have created a more perceptually realistic and immersive cinematic experience.
The findings from this research indicate that these new technologies were a challenge to many of the expectations of Hobbit viewers. Despite general approval of the nature of these technologies and their possibilities for enhancing the aesthetic experience of cinema, key segments of the audience were clearly disenchanted with these innovations, especially in comparison with their experience of Jackson’s earlier Lord of the Rings trilogy (2001-2003) and other CGI-based and 3D cinema. Respondents outlined problems in the interplay between the different imaging techniques, which generated jarring visual artefacts. They critiqued scenes where the filmmakers failed to seamlessly meld the technologies effectively, and many reported being frustrated at interruptions to their efforts to immerse themselves in the film’s narrative. Furthermore, my findings suggest that ultimately, the 3D HFR technologies and the aesthetic presented were subsidiary issues to the narrative surrounding the Middle-earth world that emotionally resonates with the majority of respondents. This does not mean that these interviewees found 3D HFR technology to have clashed with the narrative, but that the film ultimately stood as a return to their Middle-earth world. These 3 responses are consistent with those noted by Michelle et al. (2015), who found that existing fan communities of Tolkien and the Lord of the Rings trilogy had complex reactions to the use of 3D HFR technologies and their impact on The Hobbit films. These findings suggest a mixed future for similar efforts to advance cinematic aesthetics through new technologies.

text: The Hobbit: The Desolation of Smaug - A New Era of Realism? Peter Jackson’s Hobbit trilogy is a familiar blockbuster franchise, adapting a well-known piece of literature and designed to appeal to global audiences. This trilogy, however, is also experimental, as the premium release of each film utilised higher frame rate (HFR) technologies together with computer generated imaging (CGI) and 3D in ways that were intended to extent the apparatus of cinema itself. These technological processes are part of a long line of developments aimed at creating a more compelling cinematic experience (Michelle, Davis, Hight, and Hardy, 2015). 3D film is thought to be the culmination of technological advances in film as the format’s ‘implicit mission was to conquer the entire sensorial complex, to represent reality in its totality’ (Asselin and Gosselin, 2013, p.132). Thus, this thesis focuses on the reception of global audiences to the technological aspects of the second film of The Hobbit franchise, The Desolation of Smaug (2013), focusing on whether 3D HFR quantifiably alters viewers’ viewing experience in terms of improving perceptions of realism and immersion. The research draws from a mixture of qualitative and quantitative methods, including an online survey of 650 respondents across multiple countries and 39 Skype and email follow-up interviews. The responses to and interpretations of a self-selected audience formed the basis of understanding whether these technological advancements have created a more perceptually realistic and immersive cinematic experience.
The findings from this research indicate that these new technologies were a challenge to many of the expectations of Hobbit viewers. Despite general approval of the nature of these technologies and their possibilities for enhancing the aesthetic experience of cinema, key segments of the audience were clearly disenchanted with these innovations, especially in comparison with their experience of Jackson’s earlier Lord of the Rings trilogy (2001-2003) and other CGI-based and 3D cinema. Respondents outlined problems in the interplay between the different imaging techniques, which generated jarring visual artefacts. They critiqued scenes where the filmmakers failed to seamlessly meld the technologies effectively, and many reported being frustrated at interruptions to their efforts to immerse themselves in the film’s narrative. Furthermore, my findings suggest that ultimately, the 3D HFR technologies and the aesthetic presented were subsidiary issues to the narrative surrounding the Middle-earth world that emotionally resonates with the majority of respondents. This does not mean that these interviewees found 3D HFR technology to have clashed with the narrative, but that the film ultimately stood as a return to their Middle-earth world. These 3 responses are consistent with those noted by Michelle et al. (2015), who found that existing fan communities of Tolkien and the Lord of the Rings trilogy had complex reactions to the use of 3D HFR technologies and their impact on The Hobbit films. These findings suggest a mixed future for similar efforts to advance cinematic aesthetics through new technologies.

year: 2015

title: Activating belonging: Towards a critcial ensemble pedagogy

authors: Brown, Gaenor

abstract: Contemporary research shows school belonging as a key determinant of learner health and wellbeing. Teachers, and teaching practices, are pivotal in developing safe, supportive communities in which students can learn and thrive, where they can belong. In this thesis the high school drama education ensemble in Aotearoa New Zealand is presented as a site for the exploration and activation of belonging. Framed through a self-study of teacher education practice, using (S-STEP) methodology, the research reimagines ensemble pedagogy for dramatic inquiry process through a lens of critical belonging. The research opens with a contextual review of contemporary scholarship and evolving theories about school belonging and ensemble pedagogy, mapping how both fields are relationally, spatially and temporally situated. The contextual review highlights the importance of drama education and school belonging practices and pedagogies in the generation of transdisciplinary knowledge.

Six principles of practice for drama educators have been developed to support the activation of belonging, relating to Identity, Process, Provocation, Space and Place, Performativity and Reflexivity. These principles are informed by semi-structured interviews with participants experienced in ensemble-based teaching and learning, and by autoethnographic reflective responses prompted by interview dialogues. In this research autoethnography is identified as a form of wayfinding, a traditional Pacific concept, drawing on the mātauranga Māori concepts and values of manaakitanga and whanaungatanga, to weave affective, political and socio-ecological belonging into a critical perspective of ensemble practice.

The six principles of practice have been trialled in dramatic inquiry workshops, with pre- service drama educators, in a design incorporating process drama, image theatre and forum theatre. Drama conventions as boundary objects, bridging the fields of drama education and belonging, provide structure to the workshops, further informing development of the principles of practice. Through an ongoing dialogic cycle of workshop enactment, participant feedback and drama educator reflection, the principles are reassessed, redefined and refined.

This research argues for a critical ensemble pedagogy that makes space for the ensemble as both site and practice. The study advocates for a pedagogy which honours indigenous ways of knowing in drama education, catalyses creative expression and activates critical belonging.

text: Activating belonging: Towards a critcial ensemble pedagogy Contemporary research shows school belonging as a key determinant of learner health and wellbeing. Teachers, and teaching practices, are pivotal in developing safe, supportive communities in which students can learn and thrive, where they can belong. In this thesis the high school drama education ensemble in Aotearoa New Zealand is presented as a site for the exploration and activation of belonging. Framed through a self-study of teacher education practice, using (S-STEP) methodology, the research reimagines ensemble pedagogy for dramatic inquiry process through a lens of critical belonging. The research opens with a contextual review of contemporary scholarship and evolving theories about school belonging and ensemble pedagogy, mapping how both fields are relationally, spatially and temporally situated. The contextual review highlights the importance of drama education and school belonging practices and pedagogies in the generation of transdisciplinary knowledge.

Six principles of practice for drama educators have been developed to support the activation of belonging, relating to Identity, Process, Provocation, Space and Place, Performativity and Reflexivity. These principles are informed by semi-structured interviews with participants experienced in ensemble-based teaching and learning, and by autoethnographic reflective responses prompted by interview dialogues. In this research autoethnography is identified as a form of wayfinding, a traditional Pacific concept, drawing on the mātauranga Māori concepts and values of manaakitanga and whanaungatanga, to weave affective, political and socio-ecological belonging into a critical perspective of ensemble practice.

The six principles of practice have been trialled in dramatic inquiry workshops, with pre- service drama educators, in a design incorporating process drama, image theatre and forum theatre. Drama conventions as boundary objects, bridging the fields of drama education and belonging, provide structure to the workshops, further informing development of the principles of practice. Through an ongoing dialogic cycle of workshop enactment, participant feedback and drama educator reflection, the principles are reassessed, redefined and refined.

This research argues for a critical ensemble pedagogy that makes space for the ensemble as both site and practice. The study advocates for a pedagogy which honours indigenous ways of knowing in drama education, catalyses creative expression and activates critical belonging.

year: 2025