Australian Screen Production Education & Research Association

Craig Rossiter
Queensland University of Technology
craig@ignitionfilms.com.au
Celeste Alcaraz
Griffith University
c.alcaraz@griffith.edu.au

Abstract

A long-term career in screen production is elusive for most. An analysis of feature film and documentary credits by Screen Australia over the last 40 years suggests that only between 5 and 10 per cent make more than five feature films in their career.
The project based nature of the production enterprise, the uncertainty of project outcomes, and SOMETHING ELSE means that career paths are non-linear and generally unstructured. As the Australian industry has grown and developed, formal training through film schools have also grown in popularity. Australian tertiary institutions produce over 7,000 media graduates each year (Metro Screen, 2015), not including those produced by vocational education providers and registered training organisations. Census figures indicate only 22% of those employed in the media graduated in media studies.

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Marsha Berry
RMIT University
marsha.berry@rmit.edu.au

Abstract

Photography and video making have become entangled with mobility and mobile social media as experienced in everyday life. This, in turn has affected how smartphones and applications influence contemporary everyday aesthetics. Romance, memory, nostalgia, playfulness and epiphany all play a part in the desire to create evocative still and moving images that capture creative moments. Nonrepresentational theoretical concepts provide a way to grapple with the dynamic and intricate relations between creative practices with smartphones and the corporeal messiness of everyday life. This paper aims to capture some of the more-than-representational, the more-than-textual, multi-sensory aspects of visual creative practices with smartphone cameras. It provides a braided account of the dynamic relations between smartphone assemblages and embodied mobility that contribute to current discussions in creative practice research.

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Craig Batty
RMIT University
craig.batty@rmit.edu.au

Abstract

Creative practice research has become a staple of many university research cultures, and is core to the work of many members of the Australian Screen Production Education and Research Association community. We know of its potential as a site of knowledge production and dissemination; we know of its fabric and guiding principles; and we know how to articulate it to others, such as in the form of accompanying research statements that distinguish it from professional (or commercial) practice. Little, however, has been written about the form that this type of research takes; specifically, why one might choose fiction over non-fiction to express, embody or otherwise perform research. In many ways, non-fiction screen works are straightforward to argue as research, usually because the research is explicit in its content. But what of fiction: of film, television and web drama screenplays set in imagined worlds?

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Simon Weaving
University of Newcastle
simon.weaving@newcastle.edu.au

Abstract

Screenwriters are frequently encouraged to use genre as an approach to developing their cinematic storytelling, but—with a personal interest in creating a feature length film noir film—I was concerned that applying genre conventions might result in a highly clichéd screenplay. In order to better understand how genre can be used in practice as a screenwriter, I realised that I would have to revisit both the nature and function of genre in detail.

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Susan Cake
Queensland University of Technology
sue.cake@hdr.qut.edu.au

Abstract

Larger classes, reduced class contact time and increased use of casual staff pose challenges to holistic, project-based approaches to teaching screenwriting in the vocational education and training (VET) sector. This paper examines the impact of critical reflection on the process and artefacts of writing a narrative comedy series “Fighting Fit”. It is argued that script writing, as creative practice-led research facilitates a transformative learning process. Transformative learning (Mezirow 1998) refers to a type of learning specific to adult education in which epistemic assumptions are challenged and revised, leading to increased individual agency.

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Nick Bamford
Bournemouth University
nbamford@bournemouth.ac.uk

Abstract

As 21st century LGBTI emancipation continues apace, screen representations are following suit. But all too often gay-themed films attract only gay audiences, and so tend to “preach to the converted” rather than supporting that emancipation by attracting mainstream, heterosexual audiences.

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Damian Candusso
Charles Sturt University
dcandusso@csu.edu.au

Abstract

The changing materiality of moving images and picture sources is a crucial aspect of the space in which screen stories are told. Technologies that capture and present moving images are responsible for our understanding of what we see as audiences; and as makers, how we create reality on screen.

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Lisa Dethridge
School of Media and Communication, RMIT University
lisa.dethridge@rmit.edu.au

Damian Schofield
Department of Computer Science, State University of New York
damian.schofield@oswego.edu

Abstract

This paper discusses an example of global media production in an educational context that is also a model for online intercultural exchange. We investigate the process of an international, research-led film production project between two universities, RMIT University, Melbourne Australia and the State University of New York, Oswego campus, USA (SUNY Oswego).

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Helen Goritsas
Academy of Information Technology
helen.goritsas@ait.nsw.edu.au

Abstract

In this paper the creative moment in screen performance will be examined. An encounter theory of modern cinema will be introduced and the connectedness of the process of screen performance in filmmaking and its reception explored. The encounter perspective, reflecting an interpretation of creativity based on a traditional romantic view of art, will be exemplified through a thorough case study analysis and critical review of the scholarly literature as it pertains to director-actor collaborations. Influenced by Leo Tolstoy’s treatise “What is Art?” in which Tolstoy argued that a real work of art destroys the separation between the spectator and the artist, this paper will analyse transformative meeting in screen performance. Konstantin Stanislavski’s acting system—that advanced naturalistic techniques to encourage actors to create believable performances, exerting such a profound influence upon method acting on screen—will be deliberated upon, as will the similarities of an aesthetic of impermanence in traditional Japanese Noh, which demands a total identification of the actor with their role. The radical and innovative theatre director Jerzy Grotowski, who considered encounter to be the core of acting—a self-revelation requiring an emergence from oneself, opening up infinite interpretive possibilities for the viewer—will also be appraised.

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Trevor Hearing
Bournemouth University
thearing@bournemouth.ac.uk

Abstract

This paper examines the potential to develop live multi-camera screen production methods as a scholarly form of communication. Drawing on experimental work in broadcasting in the 1970s and early 1980s, exemplified by The Journal of Bridget Hitler (Saville 1981), and recent developments in multi-camera live-streaming online and to cinemas the paper asks if we might develop a novel screen production method as a tool to research, review and disseminate knowledge across a range of academic disciplines.

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Susan Kerrigan
University of Newcastle
susan.kerrigan@newcastle.edu.au

Joanna Callaghan
University of Sussex
J.Callaghan@sussex.ac.uk

Abstract

Filmmaking research is part of the broader practice research paradigm – known as practice-led, practice-based and creative practice research – where films are created as research outputs in fiction, documentary and hybrid forms. Filmmaking researchers’ enquiries into production practices, techniques, modes and genres used in cinema, television and online have been successfully conducted using filmmaking as a primary research method. This paper sets out to explore the approaches used in filmmaking research that have been adopted in Australia and the UK, to identify the similarities and differences between the two research environments by looking at nine sample research projects.

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Margaret McVeigh
Griffith Film School
m.mcveigh@griffith.edu.au

Abstract

The writing of a screenplay requires inspiration and its development via the processes of creativity and the tools of craft. This paper explores a practical integration of creativity and craft in The Creativity Workshop for Screenwriting, a workshop intensive where university screenwriting students were encouraged to seek inspiration through a structured series of creative exercises and develop an awareness of their own creative process in the writing of the proposal for a screenplay.

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Debra Beattie
Queensland College of Art, Griffith University
debra.beattie@griffith.edu.au

Daniel Maddock
Queensland College of Art, Griffith University
d.maddock@griffith.edu.au

Abstract

“There are two ways to conceive of the cinema of the Real: the first is to pretend that you can present reality to be seen; the second is to pose the problem of reality.” (Morin, quoted in Lee-Wright 2010)

The close relationship between film form (the style of a film and how it is made) and film content (the script or narrative) has been long discussed in reference to truth and authenticity, especially in documentary film production. The argument Edgar Morin presents suggests documentary modes such as cinéma vérité (literally ‘truth cinema’ in French) are perhaps idyllic constructs for a medium in which the very nature of itself is a lie; a presentation of still pictures as believable motion. The Méliès brothers present a divergent view from early cinema. One creating the earliest special-effects films, the other seeking to represent the truth in his documentaries made throughout the South Pacific.

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James Verdon
Swinburne University of Technology
jverdon@swin.edu.au

Abstract

The changing materiality of moving images and picture sources is a crucial aspect of the space in which screen stories are told. Technologies that capture and present moving images are responsible for our understanding of what we see as audiences; and as makers, how we create reality on screen.

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Dean Keep
Swinburne University of Technology
dkeep@swin.edu.au

Abstract

From Barbie dolls capable of recording video through to tablet computers and smartphones with cameras, portable digital media devices are arguably changing our relationship with technology and providing new and innovative means to produce a wide range of video content.

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Abstract

The role of a screenwriter in an adaptation is not just to condense and capture the essence of the novel; s/he writes for many readers. The role of the cinematographer is not just to frame the image and get the exposure right; s/he visualises the internal.

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Abstract

This paper proposes that the concept of ‘script development’—already an ambiguous and arguably unexamined term—is further complicated by the rise of the ‘webisode’, drawing from existing discourse and scholarship on web series, much of which focuses upon (and/or problematises) an assumed amateur/professional binary that would cast online media as ‘other’.

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Abstract

The creation of 3D character animation is underpinned by the expertise in animation software, movement and creative screen techniques. With these varied foundations, the intricacies of the production process are challenging for an animator to communicate beyond the animation department.

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Abstract

Screen production can be much more than a representational mode; it can be a powerful tool to investigate subjects that are difficult to represent or pin down. It has been theorised that an important feature of the intercultural film is to move beyond the seeable and sayable towards a more haptic experience of the moving image.

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Abstract

The recent introduction of video streaming services into the Australian television industry has already had a significant impact on the local broadcast and subscription ecology.

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Abstract

This paper examines the experimental process for a filmmaker who takes a traditional feature-length PhD documentary film and explores new distribution options for it, including Video On Demand (VOD), video capabilities on Social Networking Sites, and various models of Interactive Documentary. In other words, how does a filmmaker release a documentary, made for academic purposes, via contemporary networked platforms?

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Kath Dooley
Curtin University
kath.dooley@curtin.edu.au

Abstract

Film and video production is globally experiencing rapid and fundamental change, thanks to the development of new technologies and platforms across production, distribution and exhibition.

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