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Annual Conference Refereed Proceedings 2014

What’s This Space?
 Screen Practice, Audiences and Education for the Future Decade.

Wednesday 17 June - Friday 19 June 2014
The University of Newcastle – Newcastle, Australia
ISBN: 978-0-9943365-0-7

Editorial Introduction

Dr Susan Kerrigan, University of Newcastle & Associate Professor Craig Batty, RMIT University

The 11th annual ASPERA conference, Screen Explosion: Expanding practice, narrative and education for the creative screen industries, celebrated the multiplicity of screens and the impact they have on screen production, output and education. Delegates presented and debated on how traditional creative screen practices are endorsed, challenged, changed and reconstituted by the diversity of large and small screens that permeates our everyday lives.

A range of keynote addresses, workshops and papers brought together experienced and new academics, industry practitioners and higher degree by research candidates. The broad and rich experiences of these delegates resulted in a set of refereed papers that cross dynamic territories, from interactive documentary to film festivals, and from creative practice research to reflections on learning and teaching. It is also perhaps worth noting that each of the authors has either completed or is undertaking a higher degree by creative practice research, a testament, we hope, to the developing discourse of what it means to research for, about and through screen production – a discourse the ASPERA Research Committee is invested in through its various activities and research pursuits.

As part of this, ASPERA is keen to mentor higher degree by research candidates in the discipline through opportunities such as conference presentations, publications and peer reviewing activities – all of which these refereed proceedings represent. Opportunities such as these help individual researchers to build their academic track records, and also help the discipline of screen production to develop its research agenda and strengthen its voice in the academy. We hope that, as readers of these papers, you are inspired to join the debates and share your voice with your peers.

Finally, we are grateful to the following peer reviewers for their assistance with the 2014 refereed proceedings:

Dr Marsha Berry, RMIT University; Dr Diane Charleston, Australian Catholic University; Sky Crompton, RMIT University; Dr Kath Dooley, Flinders University; Dr Bettina Frankham, University of Technology, Sydney; Bruce Gater, Charles Sturt University; Samuel Hutchinson, University of Newcastle; Dr Seth Keen, RMIT, University; Dr Susan Kerrigan, University of Newcastle; Dr Natalie Lewandowski, Macquarie University; Dr Donna McRae, Deakin University; Steven Murdoch, Swinburne University of Technology; Dr Mark Ryan, Queensland University of Technology; Kristi Street, University of Newcastle; Tim Thomas, University of Canberra; Dr Michael Vale, Monash University; JT Velikovsky, University of Western Sydney; Dr Mike Walsh, Flinders University.

Database Documentaries: New Documentary Practices in Emergent Narrative Spaces and the Classroom


Dean Keep

Swinburne University of Technology

The development of sophisticated portable media tools, social media applications and high-speed communication networks has arguably changed our understanding of the documentary form. Database documentaries offer filmmakers and audiences new ways to produce and/or experience a wide range of narrative forms.

Researching ‘The Shoot Out Filmmaking Festival’ by Targeting Creativity


Kristi Street

University of Newcastle

The Shoot Out 24 Hour Filmmaking Festival began in Newcastle in 1999 and ran annually until 2008. The premise was that films had to be made in a 24-hour period and to authenticate the festival timeframe each film included specific items filmed at local sites. In some years the festival attracted up to 180 film crews, who annually swarmed the streets of Newcastle to film in specified locations, in a linear order to comply with another rule: ‘in-camera’ editing.

Creative Screen Labour: Capital Reciprocity in 
Micro-Budget Corporate Documentary


Samuel Hutchinson

University of Newcastle

Screen production is often described as ‘a love project’ when the film is made on a micro-budget, using volunteer labour and complex reciprocal arrangements to ensure it is completed to a professional standard. This research explores what drives a crew member work unpaid on a friend’s film.

Development of a University Feature Film 
Production Model


Tom Young

Flinders University

This paper presents one possible model for constructing a university feature film production course. This approach was developed through my Screen Production PhD (Young 2013), where I researched my role as a feature producer on Double Happiness Uranium (2013).

Walking on the Dark Side: Images, Techniques and Themes in Student Short Films


Diane Charleson

Australian Catholic University

When it comes time for Australian film students to produce their major projects, they are usually given complete freedom to choose their topics. Having been a lecturer involved with student short film production for over ten years, I have often been struck by the recurring images and themes that tend to emerge.

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