Search

This paper discusses the development of an innovative methodology for engaging young people with issues of religious diversity and toleration, through combining engagement with historical and contemporary sources with the production of short documentary films reflecting on their own experience. We report on pilot workshops held in contrasting locations—London, Belfast, Skopje (North Macedonia), Durrës (Albania), and Amman (Jordan). In some of the workshops, participants worked directly with young people from other religious traditions; in others, participants themselves were drawn from a single religious tradition, but sought actively to engage with others, for example Orthodox Christians in North Macedonia spoke to Muslims and filmed inside a mosque; Muslims in Jordan similarly visited local Christians and their churches; Catholics and Protestants in Belfast were eager to understand and interact with the other community. In the light of overwhelmingly positive feedback from participants, the analysis applies contact theory to argue that the methodology facilitates deep learning and teambuilding, enhancing respect and understanding between different religious groups. It also demonstrates the value of religious education for enhancing young people's understanding of other subjects, notably history and citizenship. [ABSTRACT FROM AUTHOR]

Copyright of Critical Hermeneutics: Biannual Journal of Philosophy is the property of Universita degli Studi di Cagliari and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents an interview with Ben Gibson, former distributor, programmer, film journalist and producer, who went on to run the London Film School from 2000 to 2014. In this interview, Gibson deconstructs what is meant by the term ‘independent film-making’ in an educational context. Drawing on his wealth of experience in a variety of contexts, Gibson takes apart current notions that dominate in contemporary educational and industrial discourses, surprisingly arriving at a conclusion which could lead emerging film-makers and their supporters towards a notion of independence after all.

This article presents an interview with Ben Gibson, former distributor, programmer, film journalist and producer, who went on to run the London Film School from 2000 to 2014. In this interview, Gibson deconstructs what is meant by the term 'independent film-making' in an educational context. Drawing on his wealth of experience in a variety of contexts, Gibson takes apart current notions that dominate in contemporary educational and industrial discourses, surprisingly arriving at a conclusion which could lead emerging film-makers and their supporters towards a notion of independence after all. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on children's play during the pandemic and how some young people responded with hybrid, playful media-making. The Play Observatory was an ESRC-funded project led by UCL and the University of Sheffield, inviting children to make contributions to a national collection of stories, texts and artefacts linked with their play during lockdown. The cultural material generated by children is an important post-pandemic legacy that allows us to argue for informal film-making as a legitimate literacy practice. Insights gained from children's creative film and animation work inspire new approaches to learning with media described as transludic, in which the characteristics of playful and improvised media production processes are given time and space to unfold. [ABSTRACT FROM AUTHOR]

The components of each stage have similarities as well as differences, which make each unique in its own right. As the film-making and the movie industry may have much we can learn from, some of these will be covered under the different sections of the paper, for example, “Writing Powerful Narratives,” depiction of emotional elements, specific industry-driven developments as well as the “cultural considerations” in both. For medical simulation and simulation-based education, the corresponding stages are as follows: Development Preproduction Production Postproduction and Distribution. The art of sim-making has many similarities to that of film-making. In fact, there is potentially much to be learnt from the film-making process in cinematography and storytelling. Both film-making and sim-making can be seen from the artistic perspective as starting with a large piece of blank, white sheet of paper, which will need to be colored by the “artists” and personnel involved; in the former, to come up with the film and for the latter, to engage learners and ensure learning takes place, which is then translated into action for patients in the actual clinical care areas. Both entities have to go through a series of systematic stages. For film-making, the stages are as follows: Identification of problems and needs analysis Setting objectives, based on educational strategies Implementation of the simulation activity Debriefing and evaluation, as well as Fine-tuning for future use and archiving of scenarios/cases.

This article draws on Mieke Bal's reflections about the use of the documentary film as a way to explore migration cultures from a scholarly perspective, and it chronicles the production of Maka (2022), a film about Geneviève Makaping's life and thoughts on race and belonging. It focuses on the collaboration and dialogue with Makaping and director Elia Moutamid, among other members of the creative team, and it argues that collaboration and dialogue can have an impact beyond the academic context. Indeed, Maka is a hybrid work that blends theory and biographical storytelling, and it is therefore accessible to a larger audience. Documentaries involve self-reflective practices which might be useful to interrogate our position throughout the research process and to reflect upon the ethical questions which are involved in scholarly work about migration cultures. [ABSTRACT FROM AUTHOR]

Copyright of Language & Intercultural Communication is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik’s (2019)

Cultural policies that promote film production and exchange in small island states face numerous challenges (including training, funding, and infrastructure). Yet, in the Pacific, Indigenous film-making is a key strategy for redressing reductive framing of the region during the colonial period (which continues today), and the last 20 years has seen a growing movement towards greater Pacific Island film production. In addition, the creative industries (including film) are currently being explored as an alternative development pathway although this has met with mixed response from governments in the region. In this changing context, and recognising the political importance of Indigenous film production, this paper analyses the strategies of film-makers and other non-state actors in developing a regional film sector across Oceania – strategies of connection that potentially bring filmmakers and audiences together across the great ocean. [ABSTRACT FROM AUTHOR]

This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik's (2019) proposal for a decolonisation of the unconscious, and expanding on my own work, this research is an exploration of film-making as a device to remember and to produce desiring/creative subjectivities. [ABSTRACT FROM AUTHOR]

The components of each stage have similarities as well as differences, which make each unique in its own right. As the film-making and the movie industry may have much we can learn from, some of these will be covered under the different sections of the paper, for example, "Writing Powerful Narratives," depiction of emotional elements, specific industry-driven developments as well as the "cultural considerations" in both. For medical simulation and simulation-based education, the corresponding stages are as follows: Development Preproduction Production Postproduction and Distribution. The art of sim-making has many similarities to that of film-making. In fact, there is potentially much to be learnt from the film-making process in cinematography and storytelling. Both film-making and sim-making can be seen from the artistic perspective as starting with a large piece of blank, white sheet of paper, which will need to be colored by the "artists" and personnel involved; in the former, to come up with the film and for the latter, to engage learners and ensure learning takes place, which is then translated into action for patients in the actual clinical care areas. Both entities have to go through a series of systematic stages. For film-making, the stages are as follows: Identification of problems and needs analysis Setting objectives, based on educational strategies Implementation of the simulation activity Debriefing and evaluation, as well as Fine-tuning for future use and archiving of scenarios/cases. [ABSTRACT FROM AUTHOR]

In our everyday lives, we often have to blend our different roles and various selves. Sometimes, they coexist in harmony. But there are times when they come into conflict, and we have to make a significant effort to get them back in balance. This paper focuses on my scientific/artistic practice in anthropological documentary film-making. Drawing on two films I have directed, I reflect on situations where I needed to compromise my different roles and perspectives on the film set and beyond. My actions and decisions have drawn on anthropological principles in documentary film-making. Through my autoethnographic reflection, I have come to the inevitable conclusion that in anthropological film-making, anthropology cannot be dominant nor submissive to storytelling. It should be the principle that guides the author (director) in achieving their focus and in creating the meaning of the story. [ABSTRACT FROM AUTHOR]

This article – initially published in Spanish by Toma Uno in 2012 – explores the Catalonian project Cinema en curs, an annual, recurring and now international programme of film education that takes place with students aged 10–18 in schools and colleges. First detailing both the rationale and methodology motivating the project, the article goes on to discuss core aspects of the approach of Cinema en curs: the Lumière minutes exercise and the short films which serve as the culmination of students’ work on the project. In doing so, the article also explores the value of approaches to film education that help learners develop an appreciation of their own lived experiences and the places in which they live. A new introduction from the authors places the article’s discussion of Cinema en curs in a contemporary context.

Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television drama, with more recent interest in short-form content intended for streaming and online platforms and games. The expansion of the notion of screen business has led to a series of Screen Australia reports that focused the debate on value frameworks that included cultural, economic and audience values. These reports informed the 2017 Federal Government inquiry into the Australian Film and Television Industry – they do not, however, provide insights into how screen business is incorporated into localised regional economies and they tend to downplay the cultural contributions from the television and advertising sectors. By looking at screen business in four regional Australia cities we demonstrate how four modes of screen production, which include commercial and corporate content, is being made sustainably in the regions and that regional screen content production activities are an important part of the national screen production ecosystem. [ABSTRACT FROM AUTHOR]

Hundreds of low-budget Hmong language films--comedies, action films, horror films, historical fiction movies, documentaries and others--have been produced for Hmong American audiences since the 1990s. Most of them have been made by 1.5-generation Hmong American men in Thailand, in collaboration with Hmong Thais who work for Hmong American producers as actors and in various other capacities. Khek Noi sub-district, Phetchabun Province--the most populous Hmong community in Thailand--is the centre of Hmong film-making because of political history, landscape, language, the skills that Hmong at Khek Noi have developed, and because Khek Noi has become a recognizable place for Hmong American film-makers. Indeed, Khek Noi can appropriately be referred to as 'Hmollywood', even though there have been tensions between Hmong American filmmakers and Hmong Thai who have worked for them. The American market for Hmong films is, however, facing serious challenges, leading Hmong American film-makers to look for new directions in producing and marketing films. This article engages with the literature on transnational cinema, arguing not only that there are transnational and globalized influences on the Hmong film-making industry, but also crucial place-based ones. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Shanghai University / Shanghai Daxue Xuebao is the property of Journal of Shanghai University (Natural Sciences) Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Research from both academic and industry sources has repeatedly identified a mismatch between theory and practice in film and TV professionals’ education. A recent report for the British Film Institute has concluded that the skills provision for the industry is not fit for purpose. This investigation aims to reconcile the educational expectations of students, educators and employers and is based on 12 semi-structured interviews with British film-makers attending the Cannes Film Festival. The interviews trace their process of updating skills and know-how to meet the requirements of highly dynamic workflows and so provide a deeper understanding of the mental models underlying the film-making process. Preliminary findings lay the foundation for a grounded theory approach to a study of conceptual knowledge in film-making. Interview analysis establishes the core concept ‘learning by doing’ that gains meaning by deep integration with highly personal and diverse skills development strategies. The film-makers demonstrate how ‘doing’ is affected by previously watched films, by collaborator focused forms of ‘critical thinking’, based on constant communication with collaborators. These combined factors enable the production team’s increasingly shared vision of a film in preproduction. The findings are discussed in the context of established reflective practice concepts to enhance student employability. [ABSTRACT FROM AUTHOR]

This paper analyzes a credit cookie in the movie Smurfs- the Lost Village (2017), with particular focus on self-referential elements and the losses and gains the scene acquires in the Romanian dubbed version. [ABSTRACT FROM AUTHOR]

The relationship between film-makers who create and spectators who judge film is the focal point of this paper. It examines theoretically how these two positions co-exist inside a film-maker that can be supported through critical and conceptual creative practice frameworks. By drawing on filmology, an early film studies area of scholarship, original film theory elements will be re-framed. For example, the filmic terms ‘diegesis’ and ‘spectator’ are central to film theory and pedagogy but ‘creator’, ‘afilmic’, ‘profilmic’, ‘screenic’ and ‘filmographic’ are not frequently used. A re-framing of the filmology suggests another way for the film-maker and spectator to co-exist as a filmic agent who produces creative practices through film-making structures and production contexts. Spectatorship provides one component of the knowledge, skill and practice required for a film-maker to work creatively in a system. Other systemic components that co-exist with spectatorship are the practical, logistical and networking skills required to conceptualize, finance, execute and distribute a film. The Systems View of Creative Practice provides one theoretical explanation where the filmic agent can hold knowledge of both film-making and spectating that enables them to make decisions inside temporal filmic structures. [ABSTRACT FROM AUTHOR]

With traditional academic work, the process of peer review is seemingly clear – work is refereed as a way of gatekeeping ideas and research contributions, to ensure it is not publicly available until it has passed a test of rigour, originality, clarity and significance to the field. Those with assumed knowledge of the discipline are the said gatekeepers, tasked with assessing the work on the basis of disciplinary knowledge and general research expertise. This often rests on the notion that the research and knowledge are made explicit in the writing. This is problematic for non-traditional academic work, such as screen production and media art, because a key value in this kind of work is the ability to communicate implicitly and differently from what can be articulated within the parameters of written, academic language. This tension between implicit and explicit knowledge claims has been one source of difficulty for evaluating and therefore rewarding creative practice research. In this paper, we draw on a recent gathering of screen production academics, the two-daySightlines: Filmmaking in the academyfestival and conference, to help us discuss the complexities of peer reviewing screen production works for the academy, and to help us point towards possible solutions. We focus specifically on where and in what form the articulation of research might happen to assist the peer reviewing process, where the common approach is to write a research statement that makes explicit the methodologies undertaken and the new knowledge being claimed. This has incited some protest from within the screen production community: for example, how do we account with language for the very thing that is in excess of language, the contribution that finds its unique place outside of language and within the moving image? We therefore also discuss the dialogic relationship between art and writing, and the kinds of relationality that might be created to help make room for the ‘in-articulable’. In short, how research and new knowledge in a screen work might be illuminated, and how an academic peer might therefore evaluate it. We conclude by discussing an approach we are currently taking to develop an online, refereed publication for screen production works, the Sightlines Journal, in response to both the current literature on the topic and the gathering of discipline academics. Given the various contexts in which these questions arise in relation to screen production research (during the writing of a PhD, in the examination process, and in professional environments), we address them accordingly as individual yet interwoven discussions driven by the shared need to find workable solutions to recurring problems. [ABSTRACT FROM PUBLISHER]

The documentary film 600 Mills was explicitly funded and produced as an academic research project, designed to investigate, through cinematic means, the decline of the textile industry in the Melbourne suburb of Brunswick. Drawing on the work of Thrift, Deleuze and Guattari, Massumi and others, it is argued that the film production process uses 'affect' as a form of sensory knowing that can engage with relevant theory and be used to conceive of film-making as a valid form of academic research. This article discusses the approach taken by three film-maker researchers in making a film that, instead of using the medium to convey information or communicate research findings gathered through other means, seeks to use the creative possibilities of film production to convey knowledge about a complex human, social and historical process. [ABSTRACT FROM AUTHOR]

The essay reviews the literature, mostly historical, on the relationship between science and film-making, with a focus on the science documentary. It then discusses the circumstances of the emergence of the wildlife making-of documentary genre. The thesis examined here is that since the early days of cinema, film-making has evolved from being subordinate to science, to being an equal partner in the production of knowledge, controlled by non-scientists. [ABSTRACT FROM AUTHOR]

Entre todas las profesiones relativas a la industria cinematográfica, el oficio del productor es probablemente el menos reconocido y el más difícil de precisar. Su trabajo implica una gran variedad de saberes y destrezas, no sólo en el ámbito financiero o de gestión, sino también creativo, aunque ésta última sea la cualidad menos común. Este artículo ofrece algunas luces a favor de la índole creativa del trabajo del productor cinematográfico, buscando respuesta a dos interrogantes: hasta qué punto puede hablarse de creatividad en la producción de películas y de qué modo se ejerce.

The year 2013, declared the Jubilee Year of Handcraft in Finland, raised the level of public awareness towards crafts by engaging craft-makers in several virtual and in-person craft projects. One of the projects was a short film competition called Crafts in Our Lives, which asked craft practitioners to present their vision of how crafts have been part of their lives through film-making. This article contributes to the current debates about the meanings of contemporary craft-making through an autoethnographic short film project inspired by the competition. The short film reflects on the experiences of a young hobbyist knitter, with attention to the subversive Do-It-Yourself movement on the one hand and the resurgence of the nostalgic granny-like "nanna" practices on the other. The autoethnographic project sheds light on the meanings and experiences of a young craft-maker, and articulates the potential of a camera as a tool for reviewing one's own maker identities. VIDEO https://www.youtube.com/watch?v=xo2fmvgsyuo. [ABSTRACT FROM AUTHOR]

This article discusses the visual identity of a post-communist estate in Poland and the role of memory and the remembering of the communist past. Phenomenological concepts derived from Paul Ricoeur and Maurice Merleau-Ponty are employed in the analysis of the post-communist identity of Cementownia, a community and place observed through the lens of a video camera. Through the interpretation of videoed perceptions of the place, interviews and staged recordings, the performative work of memory is defined, while visual anthropology frames a reflection on ruination, which characterizes the condition of the community. Film-making is applied here as a method and a critique of the schizophrenic position of post-communist societies, suspended between past and present and consequently between the discourse of capitalist advancement and the experience of impoverishment. A self-reflective analysis shows that the process of transition from communism has resulted in social inequalities which relate to the political degradation of the meaning of a past alienated from the post-communist discourse of history. [ABSTRACT FROM AUTHOR]

This article focuses on a tablet film-making project involving a group of English and Drama student teachers, their university tutors and a class of boys in a South London school. We reflect on the potential for learning about aspects of the curriculum that emerged from the technology we were using and the approach that we took. We explore how the pupils responded to the process, developing their interpretations of a pre-twentieth century text with originality and creativity while drawing on their knowledge of wider culture. We analyse how the spontaneous and improvisational approach is facilitated by a structured stimulus and degree of prescription about the task. Our focus is on the features of tablet film-making that are prompted by the cultural location of the technology in the lives of young people. The ways that the students drew on the unexpected inspiration of their immediate context emerged as salient because they were able to view and evaluate their work throughout the process of making it. This offered a visual frame of reference (often overlooked in schools) that seemed to be key to the students’ engagement and learning, suggestive of Berger’s claim that ‘we never look just at one thing; we are always looking at the relation between things and ourselves’ (Berger, J. 1972.Ways of SeeingLondon: British Broadcasting Corporation and Penguin, 9). [ABSTRACT FROM PUBLISHER]

Geography has a long, if episodic, relationship with film and film-making. In this essay we reflect on the process of making the short film Imagining Change: Coastal Conversations during the first three months of 2012. We discuss some issues arising from the making of the film as a medium and method for showing, and showcasing different forms of arts and humanities practice – narrating, performing, picturing – in relation to environmental change. [ABSTRACT FROM PUBLISHER]