2024 ANNUAL CONFERENCE
Join us at the ASPERA Annual Conference 2024 for a vibrant exchange of ideas, insights, and collaborations at the forefront of Filmmaking Intelligences - the future of authentic, creative and artificial approaches in teaching and research
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ASPERA members will receive an email providing ACCESS CODES for member tickets
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Conference Dates:
Tuesday 26th November to Thursday 28th November 2024
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Contact: conference@aspera.org.au
OVERVIEW
The Australian Screen Production, Education and Research Association (ASPERA) invites submissions for its 2024 annual conference, exploring Filmmaking Intelligences - the future of authentic, creative and artificial approaches in teaching and research. This conference aims to delve into the multifaceted landscape of contemporary screen production, in vocational and higher education, research, and the screen industry, with a focus on the dynamic intersections and transformative potential of authentic, creative and artificial intelligence. The Creative and Authentic Voice in filmmaking encapsulates the unique vision, experiences, and sensibilities of the creator. It is the essence that distinguishes one filmmaker’s work from another’s, shaping narratives with a distinctive touch. Artificial Intelligence, on the other hand, brings a new dimension to the creative filmmaking process. By leveraging vast datasets and neural networks, AI systems can generate story outlines, suggest dialogue, and even create visual elements. AI’s ability to analyse patterns and generate content may help filmmakers with predictions about audience preferences. Does the integration of AI in filmmaking offer unprecedented tools to enhance creativity, streamline production, and explore the potential for AI to act as a creative collaborator? The potential for AI collaboration introduces a new dynamic between the human filmmaker and the machine, blurring the lines between creator and co-creator; challenging traditional notions of authorship, beyond the boundaries of cinematic expression. Moreover, AI's ability to process and analyse vast amounts of data enables informed decision-making at various stages of production, from script development, pre-visualisation, scene generation, camera movements, post-production and marketing strategies. Filmmakers may harness this knowledge to craft narratives that resonate deeply with their target audience, ultimately enhancing the impact and reach of screen projects. Authenticity remains a critical component in this evolving landscape. While AI generates content, it is the human touch that infuses film with genuine emotion, cultural context, and a unique perspective. Does a creative and authentic voice act as a guiding force, ensuring that technology serves the vision, rather than overshadowing it? How will filmmakers navigate the delicate balance between leveraging AI's capabilities and preserving their own artistic and creative integrity? Will this intersection democratise filmmaking? AI tools may lower barriers to entry, enabling aspiring filmmakers with limited resources to create compelling content. How will AI empower storytellers from diverse backgrounds to share their narratives, enriching the cinematic landscape with a multiplicity of voices? How can educational institutions harness these affordances through curriculum design in vocational and higher educational settings? In the quest for authenticity, AI also presents an opportunity to address issues of representation and diversity. AI driven insights allow filmmakers to make informed decisions about casting, character development, and cultural nuances: ensuring that a broader range of experiences is authentically represented on screen. The convergence of Filmmaking, Artificial Intelligence, and the Creative and Authentic Voice marks a transformative moment in the history of cinema. It empowers filmmakers with powerful tools, expands the possibilities of storytelling, and challenges conventions of authorship. Through careful navigation of this intersection, filmmakers have the potential to create works that resonate more deeply, reach wider audiences, and reflect a broader spectrum of human experiences. This dynamic interplay between human creativity and technological innovation promises a future where the art of filmmaking knows no bounds.
KEYNOTES
Tuesday 26th November, 9am
Distinguished Professor Larissa Behrendt AO
University of Technology, Sydney
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Title: Our Stories, Our Way - A First Nations response to Decolonising Narratives in the Screen Industry​
Abstract: First Nations people had stories told about us. With the emergence of a vibrant First Nations screen sector, First Nations storytelling is engaging in a process of assertion of sovereignty and a decolonisation of the screen industry. This presentation explores a personal evolution in understand the power of First Nations storytelling to transform the screen industry and society more broadly. Distinguished Professor Larissa Behrendt AO is a Eualayai/Gamillaroi woman and Laureate Fellow at the Jumbunna Institute of Indigenous Education and Research at the University of Technology, Sydney. She is a graduate of the UNSW Law School and has a Masters and SJD from Harvard Law School. She is a Fellow of the Academy of Social Sciences in Australia and a Founding Fellow of the Australian Academy of Law. She has published numerous textbooks on Indigenous legal issues. ​ Larissa won the 2002 David Uniapon Award and a 2005 Commonwealth Writer’s Prize for her novel Home. Her second novel, Legacy, won a Victorian Premiers Literary Award. Her most recent novel, After Story (2021, UQP) won the 2022 Voss Literary prize. Larissa is an award-winning filmmaker. She won the 2018 Australian Directors Guild Award for best Direction of a Documentary Film for After the Apology and the 2020 AACTA for Best Direction in Factual Television for her documentary, Maralinga Tjarutja. She is a trustee of the Australian Museum, Chair of the Cathy Freeman Foundation, now Community Spirit Foundation, Chair of the Australia Council’s First Nations Arts and Culture Strategy Panel, a board member of Sydney Dance Company and a member of the NSW Literature Board. She is a former Chair and Board Member of the Bangarra Dance Theatre and has previously held board positions on the Museum of Contemporary Art, Sydney Festival, Sydney Writers Festival and the Sydney Community Fund. With Lindon Coombes, Larissa co-authored the Do Better report for the Collingwood Football Club. She chaired the 2011 review of Indigenous Higher Education. Larissa was awarded the 2009 NAIDOC Person of the Year award and 2011 NSW Australian of the Year. She was awarded an Order of Australia in 2020 for her work in Indigenous education, the law and the arts. Larissa received the Human Rights Medal 2021 from the Australian Human Rights Commission. She is the host of Speaking Out on ABC Radio.
Wednesday 27th November 9am
Professor Seán Cubitt FAHA MAE
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Title: AI and Film: cultures, gods and ancestors​
Moving through the dark of the caves by flickering light, the oldest storytellers immersed their tribes in motion pictures. The oldest stories echo down millennia. Our technologies and narratives are not ours alone. Like languages, maths and logic, they are a common heritage. All technologies are ancestral. It is not possible to make anything alone. Humans are social animals, reliant on each other. Whatever we make – food, laws, art – we make so we can share, and we could not share without shared languages and habits of listening and looking. Films are not made by individuals but by cultures. Breathing, metabolising, stirred by sounds and sunlight, humans are utterly dependent on nature, and so are our technologies, our cultures and our movies. Half-understood energies and agencies flow through us and our world. As our ancestors knew and colonialism tries to make us forget, energies and agencies are , as they always have been, gods. We have come to a point where culture is the enemy of nature. We exploit ecologies as we exploit our own bodies and affects. We wrestle the gods into submission and force them to work for us. Meanwhile, in contemporary legal and industrial regimes, we are as alienated from craft technologies as we are from the gods. Every technology is a black box in which we imprison our ancestors, forcing them to do our bidding. Artificial intelligence combines the mass capture of energy and materials in server farms and processing power with the mass subordination of inherited skills and knowledge to serve the goals of a culture which is impoverished to the precise degree that it is obsessed with wealth. For the vast majority of the film industry, nothing has changed: nature and technology, gods and ancestors, serve the profit motive. The only real creativity occurs when, by accident or design, something escapes from the command economy. In this talk, I want to look at some fields – scripts, scores, sets, cinematography and editing – where AI feels most threatening. Film is at a critical turning point. Either we continue in hopes of serendipitous creation or we abandon our terror of liberating ancestors and gods and learn to collaborate with them. As Kieslowski once said, we are deep in crisis, but it isn’t the end of the world. It could be we have the unique opportunity to be in at its rebirth. *** Bio: Seán Cubitt is Professor of Screen Studies at the University of Melbourne. His publications include The Cinema Effect, EcoMedia, The Practice of Light, Finite Media: Environmental Implications of Digital Technologies, Anecdotal Evidence: Ecocritique from Hollywood to the Mass Image and Truth: aesthetic politics 1. Co-editor of two volumes on Ecocinema: Theory and Practice  and series editor for Leonardo Books at MIT Press, he researches the history and philosophy of media, ecopolitical aesthetics, media arts and media technologies. He has curated exhibitions in Istanbul, Lima, Liverpool and Melbourne, and is currently working on funded research projects with colleagues in Australia, Austria, Norway, the UK, the USA and China.
Speaking Out - ABC Podcast Recording:
Wednesday November 27th 3.30pm – 5pm
Hosted by Larissa Behrendt
Guests: Jason deSantolo and Pauline Clague
Title: Strategies for decolonising narratives and representations in screen production.
​​​​CONFERENCE TOPICS
​We welcome contributions addressing the following themes: 1. Filmmaking Education intersecting with Artificial Intelligence: This topic invites investigations around: - Vocational and Higher Education curriculum design to accommodate and integrate AI technologies in the screen production classroom. - Ethical Considerations and Representation regarding AI in filmmaking - Visual Effects, Animation and Virtual Production intersecting with AI-Driven Assets exploring Cinematography, Dynamic Scene Generation or AI-Enhanced Previsualization. 2. Filmmaking Research and the Creative and Authentic Voice: This topic invites investigations around: - Examining authenticity in storytelling and the representation of diverse voices. - Techniques and technologies for capturing and preserving authentic performances. - How effective are AI-driven innovations in shaping the cultural landscape of filmmaking 3. Decolonising Filmmaking, [National] Voices and the Cultural Wave This topic invites investigations around: - Strategies for decolonising narratives and representations in screen production. - The role of Indigenous voices and perspectives in reshaping the film industry. - Representations of Australian identity and culture in filmmaking and analysing emerging trends and cultural shifts in contemporary screen production. - Equity and diversity in screen production education, and research. - Strategies for fostering inclusivity and representation in the film industry. 4. Screen Production Traditions, Mobile Media and Industry Enquires: - This topic invites investigations around past ASPERA topics and the latest trends in: - Script Development and Screenwriting - Independent Filmmaking and Distribution - Screen Business and the Streaming Services - Screen Copyright and IP. - Screen and Mobile Media - Documentary Filmmaking - Animation productions in 2D and 3D
ASPERA RESEARCH BOOTCAMP
12.30-5pm Monday 25 November | AGSE Building Level 2 - AGSE 202 (Lecture Theatre) Swinburne Advanced Manufacturing and Design Centre | Swinburne University of Technology Hawthorn, Australia We invite you to join us for an afternoon of learning and connection at our Research Bootcamp, tailored for screen production researchers. Start the day with a networking lunch, followed by an introduction session where we can all get to know each other and share our research interests. The bootcamp will provide an overview of various research methodologies related to screen production, aimed at enhancing your research skills. Our lineup of speakers includes Pia Aquilia, who will discuss comparative studies and research design, Kath Dooley with examples of practice-led research involving virtual reality, and Bettina Frankham on research-led practice for screen production. Participate in a group discussion to explore different methodological approaches, and gain insights from Marsha Berry on ethics and creative practice research. After a short break, James Verdon will talk about assessing NTROs and interacting with your institution, while Kim Munro will share tips on finding funding for creative projects. We’ll wrap up the day with a discussion on key issues for future resource development. Whether you're looking to refine your research methods, find funding, or simply connect with fellow researchers, this bootcamp offers a supportive environment and a chance to help set the ASPERA research agenda. Tickets are free and are available via the Add-ons tab on the Conference Humanitix page https://events.humanitix.com/aspera-annual-conference-hosted-by-swinburne-university/tickets#group4
PRESENTATION SUBMISSION GUIDELINES
Abstract Submission Due: EXTENDED Monday 1st April, 2024 to conference@aspera.org.au * Solo or co-presented research papers, (up to 20 minutes) Please submit a 300-word abstract (in PDF format) outlining your proposed paper * Themed Panels presentations for 90mins - Panels of 3 x 20mins OR 4 x 15mins thematically linked solo or co-presented research papers followed by questions. - Please submit a 600-word abstract (in PDF format) outlining panel theme and proposed papers * Roundtable discussions for 90 minutes - led by a chair bringing together 4 to 6 participants (including the chair as a participant if speaking as well as chairing) to offer short (up to 6 minute) position statements or interventions designed to trigger discussions around a central theme, issue, or problem. As such, a roundtable does not involve the presentation of formal research papers but rather is designed to create a forum for the participants and audience to engage in a shared discussion. The format is flexible and can be adapted to allow members of the roundtable to introduce exercises or other activities where appropriate. - Please submit a 600-word abstract (in PDF format) outlining your proposed panel. * Full Paper Submission: Please indicate if you are interested in participating in an Edited Collection based on this conference theme - Upon acceptance, details on full written papers (5000 words) will be updated when arrangements are finalised. The Journal of Media Practice and Education will be publishing a special issue on “Filmmaking Intelligences’ in 2025. Peer-review and submission details to come. Presentation Formats: Accepted papers will be presented in panel sessions, and selected papers will be considered for publication.
WRITTEN PAPER SUBMISSION
JMPE Special Issue ‘Filmmaking Intelligences’ Aiming for Late 2025 online publication, 1st edition for 2026 Issue. ASPERA 2024 Conference papers are invited to submit a paper for publication. ASPERA 2024 Conference Theme: Filmmaking Intelligences – intersections between authentic, creative and artificial intelligences. This special issue will focus on the dynamic intersections and transformative potential of authentic, creative and artificial intelligence as presented through conference presentations at the ‘Filmmaking Intelligences’ 2024 ASPERA Conference. The Creative and Authentic Voice in filmmaking encapsulates the unique vision, experiences, and sensibilities of the creator. It is the essence that distinguishes one filmmaker’s work from another’s, shaping narratives with a distinctive touch. The relationship between Authenticity and Artificial Intelligences is a site ripe for research, to explore how and if AI can empower storytellers or if it will undermine and dilute authentic stories and voices. Artificial Intelligence, on the other hand, brings a new dimension to the creative filmmaking process. By leveraging vast datasets and neural networks, AI systems can generate story outlines, suggest dialogue, and even create visual elements. AI’s ability to analyse patterns and generate content may help filmmakers with predictions about audience preferences. The convergence of Filmmaking, Artificial Intelligence, and the Creative and Authentic Voice marks a transformative moment in the history of cinema, screen and media. It provides filmmakers with powerful tools, expands the possibilities of storytelling, and challenges conventions of authorship. Through careful navigation of this intersection, filmmakers have the potential to create works that resonate more deeply, reach wider audiences, and reflect a broader spectrum of human experiences. Information for Authors - Timeline for Publication.  Draft Articles Submit (4 months after conference) Due: 1st April 2025 submit to email: skerrigan@swin.edu.au Peer-review: (2 months) Approximately - 1st May 2025 to 30th June 2025  Reviewer’s Feedback for contributors: (1 month) Approximately: Between 1st and 30th July 2025.  Amendments and re-submission of Feedback (2 months) Due: 30th September 2025  Editorial Reviews for publication: Approximately October 2025  Online Publication: Approximately 1st November to 15th December 2025
CONFERENCE LOCATION
SWINBURNE BUILDING NAMES:
Building AGSE – Australian Graduate School of Entrepreneurship
Entrance: Wakefield street
AGSE Foyer is on the ground level.
Building AMDC – Advanced Manufacturing & Design Centre
Entrance: Burwood Road or McLeod Lane (via John Street)
Skylounge is on level 3
Closest Train station for Swinburne University: Glenferrie station
ACCOMMODATION SUGGESTIONS
Hotel Name | Address | Price (at time of publishing) | Transport Options | LINK |
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Glenferrie Hotel | 324 Burwood Road, Hawthorn | $188-215 King/Twin Room | https://glenferriehotel.com.au/accommodation/ | |
Corporate Living Hawthorn | 616 Glenferrie Road, Hawthorn | Apartments, Studio, 1 & 2 Bedroom | Walking distance from Campus | https://corpliving.com.au/ |
Aligned Corporate Residences - Kew | 19-21 Walpole St, Kew | Apartments and Townhouses, 1-3 Bedroom
Online rate - $280pn, 1 Br apartment | Walk to Crn Cotham/Glenferrie (10 mins)
Tram #16 to Stop 74 (McDonalds on Crn) | https://acresidences.com.au/properties/kew-serviced-apartments-residences/ |
Element by Westin, Richmond | 588 Swan Street, Richmond | $259 King Room | Tramstop at door for #70 | https://www.marriott.com/en-us/hotels/melel-element-melbourne-richmond/overview/?scid=f2ae0541-1279-4f24-b197-a979c79310b0 |
Quest Docklands Apartment Hotel | 750 Bourke Street Docklands | Studio Apartment $160-190 | Near Southern Cross Station | https://www.questapartments.com.au/properties/vic/docklands/quest-docklands |
Dorsett Melbourne | 615 Lt Lonsdale Street, Melbourne | $208-270 Dorsett King Room
Online price: King Room, $335.28 | Near Southern Cross station | https://www.dorsetthotels.com/dorsett-melbourne/index.html |
Lancemore Crossley St Melbourne | 51 Lt Bourke Street, Melbourne | King Room $250-260pn
3nights plus - 10% discount | Parliament Station around cnr
Trams nearby | https://lancemore.com.au/properties-2/lancemore-crossley-st/ |
Conference Dates:
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Tuesday 26th November to Thursday 28th November 2024
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Contact Information:
For inquiries and further information, please contact:
Professor Susan Kerrigan
Department Chair, Film, Games and Animation,
School of Social Sciences, Media, Film and Education,
Swinburne University of Technology, Melbourne, Australia
Join us at the ASPERA Annual Conference 2024 for a vibrant exchange of ideas, insights, and collaborations at the forefront of Filmmaking Intelligences - the future of authentic, creative and artificial approaches in teaching and research
Swinburne University of Technology, Melbourne
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Contact: conference@aspera.org.au
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