Kath Dooley Kath Dooley i(6848599 works by)
Gender: Female
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Works By

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1 y separately published work icon Cinematic Virtual Reality : A Critical Study of 21st Century Approaches and Practices Kath Dooley , New York (City) : Palgrave Macmillan , 2021 23094326 2021 multi chapter work criticism

'With reference to traditional film theory and frameworks drawn from fields such as screenwriting studies and anthropology, this book explores the challenges and opportunities for both practitioners and viewers offered by the 360-degree storytelling form. It focuses on cinematic virtual reality (CVR), a format that involves immersive, high quality, live action or computer-generated imagery (CGI) that can be viewed through head mounted display (HMD) goggles or via online platforms such as YouTube. This format has surged in popularity in recent years due to the release of affordable high quality omnidirectional (360-degree) cameras and consumer grade HMDs. The book interrogates four key concepts for this emerging medium: immersion, presence, embodiment and proximity through an analysis of innovative case studies and with reference to practitioner interviews. In doing so, it highlights the specificity of the format and provides a critical account of practitioner approaches to the concept development, writing and realisation of short narrative CVR works. The book concludes with an account of the author’s practice-led research into the form, providing a valuable example of creative practice in the field of immersive media.'

Source : publisher's blurb
1 Night Bus : A Short Drama Script Kath Dooley , 2015 single work drama
— Appears in: TEXT Special Issue Website Series , April no. 29 2015; 'Night bus is a creative exploration of relationship between the screenplay, affect and bodies. The short film script sees a re-imagining of contemporary, real life events to produce a dramatic narrative concerned with themes of public violence, individual intervention and responsibility. Following on from research into the affective dimensions of cinema, this has been written as a means to explore the conditions that encourage the production of bodily sensation at a conscious and unconscious level within the screenplay itself. I have sought an answer to the question of how the screenwriter’s description of material gives rise to a visceral response in the reader, which may also be reflected in a resulting film text. My screenwriting focuses on the creative use of narrative content and the description of aesthetic dimensions such as colour, light, sound, movement, rhythm and texture to affect the reader.' (Publication summary)
1 A Promise of Change : 52 Tuesdays (2013) – A Case Study of Collaborative, Low-budget Feature-filmmaking Practice Kath Dooley , 2014 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 2/3 2014; (p. 150-162) '52 Tuesdays (2013) is an ambitious and distinctively structured feature film that explores family relationships and one teenager's coming of age in contemporary suburban Australia. The story centers on 16-year-old Billie (Tilda Cobham-Hervey) who is surprised to discover that her beloved mother Jane (later known as James) wishes to transition from female to male. James needs some time out to adjust; however, mother and daughter vow to meet every Tuesday after school and spend the evening together, thus setting the ground rules for the structure around which 52 Tuesdays revolves. The film draws upon documentary elements in that it was in fact filmed over 52 consecutive Tuesdays and was therefore affected by significant change both on and off screen over the course of the year. Funded by the South Australian Film Corporation's now-defunct FilmLab program, 52 Tuesdays went into production based on a short treatment. This working document, which outlined characters and story arcs, changed during the yearlong production period as co-writers Matt Cormack and Sophie Hyde continued to develop the story on a weekly basis. In effect, this meant that the film's conception and development was closely linked with its execution, with the process of screenwriting not only driving production, but also being driven by production. In this article I examine the film's structure, the innovative practices of what I term ‘staggered’ screenwriting and production that bought the project to fruition, and consider the consequences of these working methods on the finished product. The article is informed by interviews with screenwriter Matt Cormack and director Sophie Hyde, as well as a formal textual analysis of the film. I argue that 52 Tuesdays' ‘one day a week’ style of filmmaking, with its open-endedness and incorporation of documentary elements, is one that fosters notions of authenticity for both its creators and audience. Furthermore, this timely, innovative and low-budget project has much intelligence to offer both practitioners and researchers investigating experimental approaches to feature film writing and development.' (Publication abstract)
1 Oppositions and Lines of Desire : Exploring the Screenwriting Approach of Claire Denis in a Practice-based Study Kath Dooley , 2014 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing , October vol. 18 no. 2 2014;

'In her twenty-five year career, French writer/director Claire Denis has produced close to a dozen feature films. Existing in the margins of mainstream cinema, Denis’s work includes disturbing and/or horrific films that explore the body as a site for identity formation, sexual debasement and transgressive urges. The majority of Denis’s films have been written in collaboration with co-writer Jean-Pol Fargeau, a process Denis describes as involving the ‘grafting’ of various elements into a coherent whole. This approach sees character and plot defined through the drafting of a ‘diagram of relations’, a form of construction that distances Denis from popular approaches to screenwriting undertaken in Australia.

In this article I describe how I conducted a practical investigation of Denis’s approach by writing an original 25-minute screenplay (produced into a film in early 2012). This process was both a means of further enquiry into Denis’s thematic and practical concerns, and a creative outcome of my PhD research, which allowed for a reinvigoration and evaluation of my previous practice as screenwriter. The resulting script is a departure from my previous output, with a different approach to plot signifiers, conflict and the psychological representation of character. With self-reflexive examination and creative analysis, this paper explores the specifics of Denis’s approach and its impact when imported into my practice in an Australian context. ' (Publication abstract)
1 'Screen Worship' : The 2013 Adelaide Film Festival Kath Dooley , 2013 single work essay
— Appears in: Senses of Cinema , December no. 69 2013;
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