Papers & Publications
Mick Broderick & Gill Leahy (Eds) Text Journal Special Issue (Number 11 April 2011) - ASPERA: New Screens, New Producers, New Learning
Martin Harrison - Workloads and Creative Practice Research (2010) Download PDF
Author Martin Harrison, published poet and member of the Creative Practices Group at UTS, has written a position paper grappling with how creative practice research workloads can be fairly evaluated in the current Australian university environment.
Leo Berkeley - The Anonymous Actor – Ethics and Screen Production Research (2009) Download
All research in Australian universities involving human participants needs approval from human research ethics committees, who make judgments consistent with accepted ethical principles that have recently been captured in the National Statement on Ethical Conduct in Human Research (2007). Making a film as an academic research project is a relatively recent phenomenon and there are apparent contradictions between the requirements for ethics approval and the accepted practice of screen production.
George Karpathakis - Creative practice as a research tool: benefits and pitfalls (2009) Download PDF
Filmmaking itself has always been a hybrid of science and art and this paper calls upon filmmakers to utilise their creative practices, including aesthetics, to the service of other disciplines, in the hope that the outcomes produce data that is useful and is integrated in the discourses of social sciences, cultural studies and other disciplines.
Susan Kerrigan - Applying creativity theories to a documentary filmmaker’s practice (2009) Download PDF
Using a practitioner-led research methodology, Practitioner Based Enquiry, this paper will examine some elements of my Fort Scratchley documentary film-making research and these reflective accounts will be discussed in relation to three relatively recent theoretical perspectives of creativity all of which come from the creativity research literature. Firstly the documentary production process will be examined using a staged creative process. The second theoretical model to be ‘tested-out’ is the systems model of creativity which presents an holistic view of the creative system at work. The final theory presented will examine ‘group creativity’ which accounts for collaborative group work. The conclusion will discuss the appropriateness of each of these creativity theories to documentary film-making practice.
Leo Berkeley - A Good Take -The Process as a site for Screen Production Research (2008) Download PDF
Leo Berkeley’s paper A Good Take - the process as a site for screen production research raises issues about the challenges involved in developing screen production as a distinct field of academic research. Drawing on his experiences making the film How To Change The World, he argues for a focus on the production process as a site where screen production research can both define itself as a distinct field of study and produce knowledge that is of relevance and value to the screen production industries.
David Carlin & Paul Ritchard - Encouraging Critical Practice in Media Students: The Digital Dossier Initiative (2008) Download PDF
The tensions between theory and practice often encountered when teaching film and television production at university level are explored by David Carlin and Paul Ritchard in their paper Encouraging Critical Practice in Media Students: The Digital Dossier Initiative. The authors have written about their initiatives in resolving the theory/practice divide through the use of a ‘digital dossier’ that encourages students to critically examine their assumptions about practice and contextualise their work with reference to a broad range of excerpts from exemplary and innovative films.
Pat Laughren - Talking With Dinosaurs? Some Reflections on the Role of the Documentary in Screen Production Education (2008) Download PDF
Pat Laughren’s paper Talking With Dinosaurs? Some Reflections on the Role of the Documentary in Screen Production Education considers the history of documentary education in Australia and how its traditional role within film & television courses is changing, in response to changes in both the screen production industries and the educational environment. In an increasingly crowded curriculum, where there is less time for reflection and a focus on digital technologies and new media, does the enduring value of the documentary form and what it can offer developing screen practitioners need to be given more attention?
Kathryn Millard - Writing and Improvising the Digital Essay Film: The Boot Cake (2008) Download PDF
Kathryn Millard’s paper Writing and Improvising the Digital Essay Film: The Boot Cake reflects on her experiences making her recently released film about Charlie Chaplin impersonators in India. Chronicling the challenges she faced trying to combine a creative practice in filmmaking with an academic career, the paper explores the possibilities for a more personal, reflective cinema in this context, as well as making some more general reflections about practice-based research in the screen arts. We recommend this paper be read in conjunction with a viewing of the website for the film at www.thebootcake.com.
Nicholas Oughton - A General Safety Induction ‘Blue Card’ for the Queensland Film, Television and New Media Industries (2008) Download PDF
Nicholas Oughton’s paper A General Safety Induction ‘Blue Card’ for the Queensland Film, Television and New Media Industries presents his research investigating occupational health and safety issues in the screen production industry and argues for the need to raise standards in relation to this important issue. He proposes the introduction of a safety induction Blue Card as a practical means to achieve widespread improvements in the industry’s management of occupational risk.