title: Creative restrictions in student filmmaking: the Lessons of Dogme 95

authors: Barrett, Kyle

abstract: How do we approach media education in the current political climate? How do we teach students the importance of critical thinking when examining the media? The rise of movements such as #Me Too and Time's Up make media one of the most important degrees to pursue. Students often have a romantic notion when approaching a media degree that they will soon become content producers that will propel them into the global fame stratosphere. However, when embarking on such a degree, they soon learn there's more to just pushing the record button on a camera. This does not make anyone a filmmaker. Critical thinking and creativity sparked by the confines of briefs, assessment criteria and quick deadlines help students develop their skills. You Tube superstars seem to be more their heroes than the greatest filmmakers in world. I often panic when students have never heard of the greats, such as Lynne Ramsay, Claire Denis, and David Lynch. Should I be looking more at the You Tube creators than anxiously awaiting their next masterpieces? I'm often hesitant to gravitate to the website but I often remind myself that You Tube is a fantastic platform for media: when used properly. And what I mean by that is as a cinema resource. How many lecturers get anxious when the film clip you need is conveniently uploaded on You Tube but then doesn't load properly during a lecture? You Tube shouldn't be ignored, it should be embraced as a website that hosts many wonderful introductions to the world of cinema.

text: Creative restrictions in student filmmaking: the Lessons of Dogme 95 How do we approach media education in the current political climate? How do we teach students the importance of critical thinking when examining the media? The rise of movements such as #Me Too and Time's Up make media one of the most important degrees to pursue. Students often have a romantic notion when approaching a media degree that they will soon become content producers that will propel them into the global fame stratosphere. However, when embarking on such a degree, they soon learn there's more to just pushing the record button on a camera. This does not make anyone a filmmaker. Critical thinking and creativity sparked by the confines of briefs, assessment criteria and quick deadlines help students develop their skills. You Tube superstars seem to be more their heroes than the greatest filmmakers in world. I often panic when students have never heard of the greats, such as Lynne Ramsay, Claire Denis, and David Lynch. Should I be looking more at the You Tube creators than anxiously awaiting their next masterpieces? I'm often hesitant to gravitate to the website but I often remind myself that You Tube is a fantastic platform for media: when used properly. And what I mean by that is as a cinema resource. How many lecturers get anxious when the film clip you need is conveniently uploaded on You Tube but then doesn't load properly during a lecture? You Tube shouldn't be ignored, it should be embraced as a website that hosts many wonderful introductions to the world of cinema.

year: 2018

title: A mixed digital / physical snapshot of early internet / web usage in New Zealand

authors: Cunningham, Sally Jo

subjects: computer science

abstract: We are in the early stages of developing a unique physical and digital record of New Zealand's early experience of the Internet.

text: A mixed digital / physical snapshot of early internet / web usage in New Zealand We are in the early stages of developing a unique physical and digital record of New Zealand's early experience of the Internet.

year: 2009

title: Kei hea te tangi a te Tūī? An exploration of Kaitiakitanga in urban spaces

authors: Walker, Erana

subjects: Kaitiakitanga

abstract: Indigenous people’s connection to the natural world differs from place to place. In Aotearoa, New Zealand, Māori connection to nature is often articulated through the concept of kaitiakitanga whilst intertwining concepts of whakapapa, wairua, mana, mauri and place. Kaitiakitanga captures the relationships, narratives and practices that Māori utilise to protect kin of the natural environment as well as Māori communities in general. Over recent decades increase use of kaitiakitanga with respect to resource management has been linked to ideas of guardianship and stewardship, departing from important aspects such as place, whakapapa, intergenerational knowledge, spirituality and resource use. Calls to recognise the diverse ways kaitiakitanga has and can be expressed by Māori have echoed through academic literature, encouraging wider perspectives and application of the concept to develop. This has reinvigorated not only the need for natures protection but also the recognition of cultural knowledges and concepts in practicing kaitiakitanga. 
 
As with most indigenous people, Māori have experienced urbanisation that has spanned across generations of whānau and hapū. Urbanisation has the ability to challenge health outcomes, cultural practices and cultural knowledge, and more importantly, relationships to nature. Growing urbanisation and environmental degradation continue to challenge people and our relationships to nature. There is now a need to understand how urban spaces may also challenge the concepts that encourage connections to nature like kaitiakitanga. Moreover, there is a need to understand if such cultural concepts can become challenged when transient Māori reside in another tribal group’s boundaries. This research provides a deeper analysis of kaitiakitanga by understanding its application within the urban space of Kirikiriroa/Hamilton. From data gathered through a survey, focus groups and interviews, this research project illustrates the experiences of Māori in the urban space who know and practice kaitiakitanga in Kirikiriroa/Hamilton. More importantly, this study posits the integral role of place connection and mana in supporting and shaping kaitiakitanga practices in urban spaces.

The data from participants shows a clear narrative of kaitiakitanga from both local and transient Māori exist and indicates that kaitiakitanga is practiced in accordance with their location and whakapapa to their area of residence. The study has found that kaitiakitanga practices have adapted to suit urban spaces allowing for both transient and local knowledges to exist within the urban space. The key findings of this research show many influences that impact kaitiakitanga practices like the recognition of childhood spaces and experiences, ideas of kinship, cultural knowledges, spirituality, mobility, nature as well as modernisation. Through exploring participants use and knowledge of kaitiakitanga, this research provides a new lens in which to view this concept and bring to the fore, the various experiences and ways that participants connect to place, people, culture and most importantly, nature.

text: Kei hea te tangi a te Tūī? An exploration of Kaitiakitanga in urban spaces Indigenous people’s connection to the natural world differs from place to place. In Aotearoa, New Zealand, Māori connection to nature is often articulated through the concept of kaitiakitanga whilst intertwining concepts of whakapapa, wairua, mana, mauri and place. Kaitiakitanga captures the relationships, narratives and practices that Māori utilise to protect kin of the natural environment as well as Māori communities in general. Over recent decades increase use of kaitiakitanga with respect to resource management has been linked to ideas of guardianship and stewardship, departing from important aspects such as place, whakapapa, intergenerational knowledge, spirituality and resource use. Calls to recognise the diverse ways kaitiakitanga has and can be expressed by Māori have echoed through academic literature, encouraging wider perspectives and application of the concept to develop. This has reinvigorated not only the need for natures protection but also the recognition of cultural knowledges and concepts in practicing kaitiakitanga. 
 
As with most indigenous people, Māori have experienced urbanisation that has spanned across generations of whānau and hapū. Urbanisation has the ability to challenge health outcomes, cultural practices and cultural knowledge, and more importantly, relationships to nature. Growing urbanisation and environmental degradation continue to challenge people and our relationships to nature. There is now a need to understand how urban spaces may also challenge the concepts that encourage connections to nature like kaitiakitanga. Moreover, there is a need to understand if such cultural concepts can become challenged when transient Māori reside in another tribal group’s boundaries. This research provides a deeper analysis of kaitiakitanga by understanding its application within the urban space of Kirikiriroa/Hamilton. From data gathered through a survey, focus groups and interviews, this research project illustrates the experiences of Māori in the urban space who know and practice kaitiakitanga in Kirikiriroa/Hamilton. More importantly, this study posits the integral role of place connection and mana in supporting and shaping kaitiakitanga practices in urban spaces.

The data from participants shows a clear narrative of kaitiakitanga from both local and transient Māori exist and indicates that kaitiakitanga is practiced in accordance with their location and whakapapa to their area of residence. The study has found that kaitiakitanga practices have adapted to suit urban spaces allowing for both transient and local knowledges to exist within the urban space. The key findings of this research show many influences that impact kaitiakitanga practices like the recognition of childhood spaces and experiences, ideas of kinship, cultural knowledges, spirituality, mobility, nature as well as modernisation. Through exploring participants use and knowledge of kaitiakitanga, this research provides a new lens in which to view this concept and bring to the fore, the various experiences and ways that participants connect to place, people, culture and most importantly, nature.

year: 2021