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Aimed at students and educators across all levels of Higher Education, this agenda-setting book defines what screen production research is and looks like-and by doing so celebrates creative practice as an important pursuit in the contemporary academic landscape. Drawing on the work of international experts as well as case studies from a range of forms and genres-including screenwriting, fiction filmmaking, documentary production and mobile media practice-the book is an essential guide for those interested in the rich relationship between theory and practice. It provides theories, models, tools and best practice examples that students and researchers can follow and expand upon in their own screen production projects.
List of contents
1. Introduction.- 2. A 'Logical' Explanation of Screen Production as Method-Led Research - Susan Kerrigan.- 3. Lights, Camera, Research: The Specificity of Research in Screen Production - Leo Berkeley.- 4. The Primacy of Practice: Establishing the Terms of Reference of Creative Arts and Media Research - Desmond Bell.- 5. Screenwriting as a Mode of Research, and the Screenplay as a Research Artefact - Craig Batty and Dallas J Baker.- 6. Using Practitioner Based Enquiry (PBE) to Examine Screen Production as a Form of Creative Practice - Phillip McIntyre.- 7. Ethnography and Screen Production Research - Marsha Berry.- 8. Method in Madness: a Case Study in Practice Research Methods - Erik Knudsen.- 9. Cinematography: Practice as Research, Research into Practice - Cathy Greenhalgh.- 10. Practices of Making as Forms of Knowledge: Creative Practice Research as a Mode of Documentary-making in Northeast India - Aparna Sharma.- 11. Fragments, Form and Photogénie: Using Practice to Research the Intersectional Work of Poetic Documentary - Bettina Frankham.- 12. Peter Kennedy's The Photographs' Story: the Dialectical Image as Research - John Hughes.- 13. The Naïve Researcher, Resisting Methodology: a PhD Experience - Smiljana Glisovic.- 14. Afterword: Tacit Knowledge and Affect - Soft Ethnography and Shared Domains Belinda Middleweek and John Tulloch.
About the author
Craig Batty is Dean of Research at University of South Australia, Australia. He is author, co-author and editor of numerous books, including Media Writing: A Practical Introduction (2nd ed., 2016), Screenwriters and Screenwriting: Putting Practice into Context (2014), The Creative Screenwriter: Exercises to Expand Your Craft (2012) andMovies That Move Us: Screenwriting and the Power of the Protagonist’s Journey (2011).
Susan Kerrigan is an Associate Professor at the University of Newcastle, Australia, who specialises in creative practice research methodologies. She is a co-investigator on the Filmmaking Research Network grant, funded by the UK’s Arts and Humanities Research Council, and has held Australian Research Council Grants investigating the creative industries. Susan has produced and directed Australian television programs, including Play School.
Summary
Aimed at students and educators across all levels of Higher Education, this agenda-setting book defines what screen production research is and looks like—and by doing so celebrates creative practice as an important pursuit in the contemporary academic landscape. Drawing on the work of international experts as well as case studies from a range of forms and genres—including screenwriting, fiction filmmaking, documentary production and mobile media practice—the book is an essential guide for those interested in the rich relationship between theory and practice. It provides theories, models, tools and best practice examples that students and researchers can follow and expand upon in their own screen production projects.
Additional text
“The collection of essays is comprehensive and, maybe even more importantly, it provides a starting point from which creative and academic discourse can take place. … encourages students and scholars to be open-minded about the possibilities of screen production research.” (Ashley R. Spillane, Film Matters, Vol. 09 (3), 2018)
Report
"The collection of essays is comprehensive and, maybe even more importantly, it provides a starting point from which creative and academic discourse can take place. ... encourages students and scholars to be open-minded about the possibilities of screen production research." (Ashley R. Spillane, Film Matters, Vol. 09 (3), 2018)
