y separately published work icon Studies in Australasian Cinema periodical issue   criticism   peer reviewed assertion
Issue Details: First known date: 2015... vol. 9 no. 2 2015 of Studies in Australasian Cinema est. 2007 Studies in Australasian Cinema
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Contents

* Contents derived from the 2015 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Looking Back in Order to Look Forward : Re-Scripting and Re-Framing Screen Production Research, Susan Kerrigan , Craig Batty , single work criticism
'Filmmakers who are also academics want to make creative works as research. This has proven to be a challenging and time-consuming objective for practitioner-academics, despite governmental policy (namely, Excellence in Research for Australia (ERA)) advocating non-traditional research outputs. For example, it is one thing to make a film as research – but it is another to have it recognised as research within an institution, which usually includes the need to provide evidence of peer review or its equivalent. This topic among many has been hotly debated at Australian Screen Production Education and Research Association (ASPERA) annual conferences, and occasionally in some of its publications. But the debates are still ongoing, and given that soon after this special issue is published Australian universities will receive their ERA results, these debates are also likely to continue.' (Publication abstract)
(p. 90-92)
Screen Production Enquiry : A Study of Five Australian Doctorates, Susan Kerrigan , Leo Berkeley , Sean Maher , Michael Sergi , Alison Wotherspoon , single work criticism

'Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film and television practice, create challenges for students, supervisors, examiners and the overall development of the discipline. This paper will examine five recent doctorates in screen production practice at five different Australian universities. It will look at the nature of the films made, the research questions the candidates were investigating, the new knowledge claims that were produced and the subsequent impact of the research. The various methodologies used will be given particular attention because they help define the nature of the research where film production is a primary research method.' (Publication abstract)

(p. 93-109)
A Screenwriter's Journey into Theme, and How Creative Writing Research Might Help Us to Define Screen Production Research, Craig Batty , single work criticism
'Although critical works relevant to screen production research exist, they are often fragmented (screen production placed alongside general media production) and, I want to suggest, not brave enough to embrace the term screen production research. With ‘dirty’ connotations to an industry some see far removed from the academy, screen production research has not yet been able to justify its existence, unlike, for example, the discipline of creative writing, which has achieved a lot in regard to its research agenda and footprint. This article thus proposes definitions and examples from which we might build the foundations for a better understanding of screen production research and its future potential in the academy. This will be achieved by offering a critical and reflective discussion of how theme can be used as a creative and collaborative tool for use in the development of a screenplay. By doing this, the article seeks not to theorise practice per se, but rather to intellectualise it for the benefit of practitioner-academics with interests in screen production research specifically, and creative practice research more broadly. As an important aspect of screen production, screenwriting is a useful lens through which to consider this type of research, partly because of how it is often positioned between creative writing and screen production. For example, the practice of screenwriting might be understood as creative writing, and the development of a screenplay might be understood as screen production. Similarly, the processes undertaken by the screenwriter might be understood in relation to other types of creative writer, and the role played by the screenwriter might be understood in relation to the role played by the producer or director. Furthermore, because the discipline of creative writing has a highly developed understanding of creative practice research, discussing the ‘sub-discipline’ of screenwriting allows us to draw from its rich literature, which as a result helps to define some of the parameters by which we might understand screen production research.' (Publication abstract)
(p. 110-121)
‘I've Got to STOP Writing This (adjective of Choice) Article and Get Onto My Filmmaking’: Documentary Filmmaking as University Research – Some History and Case Studies, Trish FitzSimons , single work criticism

'This article traces the history of how documentary filmmaking has been treated as research in the Australian University system of the last 25 years. Indicative case studies are key to its methodology, of both the author's documentary filmmaking and also that of several colleagues who have combined this creative practice with full-time employment in universities.' (Publication abstract)

(p. 122*139)
The Value of Film School in the Success of Female Filmmakers in Australia, Pieter Aquilia , single work criticism

'This paper discusses the role of film schools and government funding initiatives on the gender imbalance between male and female directors in the Australian film industry in the years 1970–2015. It traces the career trajectories of some of the first women graduates of the Australian Film Television and Radio School, such as Gillian Armstrong, Jane Campion and Jocelyn Moorhouse, who negotiated the pathways of government film financing to the commercial film industry. The exploration notes that a change in film school curricula, the rise of new film programmes within public universities, and reduced government funding impacted on the profile of female filmmakers in Australia during the 1990s to early 2000s. However, a bias towards male directors on bigger budget films and the perennial challenge of balancing a career and motherhood continue to prevail in the Australian film industry. The researcher looks at possible avenues of redress, calling on the education sector, the film industry and film bodies to provide support for women directors traversing the complex social capital required to succeed in the commercial film industry.' (Publication abstract)

(p. 140-151)
Re-thinking Ancillary : Australian Screen Content in Education, Sean Maher , Ruari Elkington , single work criticism (p. 152-170)
Freeing the Imagination : ‘The Best Movie Is the One in My Head’, Isabelle Delmotte , single work criticism

'Sonic and visual information bounce off each other in daily and fictional lives; physical perception and imagination are intrinsic in the creation of immersive experiences. In the case of atmospheric cinema sound, for example, individual sensibility and physical relationships to sound and space are central to modelling a narrative’s perceptual and emotional authenticity. Is this experiential process compromised when film-making practice is lead by visual storytelling? I would argue that current and future cinema sound practitioners have the propensity to expand sonic phenomenological experience of creative collaborators and audiences alike. A more generalised application to synergetic creative process could originate within the cinematic industry itself. Of course some film directors are renowned for their holistic and collaborative approach to sound creation. Nevertheless sound professionals’ multisensory imagination should be encouraged, from the onset of their professional careers, with as much diligence as their acquisition of technical expertise. In order to highlight the impact of individual imagination on audio-visual creative collaboration, the author of this article devised a creative process involving the altruistic participation of Australian-based cinema professionals. The readers of this article will be invited to experience part of this specific creative process and audio-visually imagine a scene from the reading of a script.' (Publication summary)

(p. 171-186)
Inside Looking Out – Film Festival Reports, Kirsten Stevens , Lauren Carroll Harris , Greg Dolgopolov , single work criticism

'Look about. From big cities to rural centres, tourist towns to sheep farms, film festivals are everywhere. Hardly a weekend now passes without some celebration lighting up screens somewhere around Australia. While 2015 marks yet another bumper year of film festival offerings, the proliferation of festivals is not a new phenomenon. For going on three decades, Australia has experienced an exponential increase in the range and number of celebrations on offer, with the boom in events showing no sign of slowing in the near future. Despite what is arguably a surplus of events, however, Australian audiences seem not to have tired (yet) of the opportunities film festivals present. While traditional networks of film exhibition and distribution are in a state of flux, struggling to navigate an ever-expanding array of content delivery and consumption platforms that are disrupting established patterns of viewing and the money-streams attached to them, festivals seem to have retained the public's interest. As digital distribution channels, online content providers and media on demand technologies open new avenues for film lovers to access the titles they desire, festivals seem to have maintained their allure, continuing to entice audiences away from their personal screens and into more communal viewing experiences.' (Publication abstract)

(p. 187-189)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 16 Oct 2015 10:18:19
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