Editors:
The first book to seriously define and celebrate screen production as a mode of research
Presents agenda-setting chapters that benchmark creative practice research at undergraduate and postgraduate levels
Offers rigorous analysis of creative productions developed in the academy – filmmaking, screenwriting, installation and mobile media
Provides theories, models and tools for students and researchers in screen production
Contributions from international researchers and educators, including Australia, the UK and the US
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Table of contents (14 chapters)
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Front Matter
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Back Matter
About this book
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.
Reviews
“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)
“The project to clarify how creative practice fitted the university system’s imperative for research was born out of necessity. Practitioners were being turned into academics and their expertise had to be reframed as scholarly enquiry. The screen disciplines had been slow starters in this race while the arts, design and writing had made progress that had led to stronger system and consensual endeavour. Screen production has always presented human and social interests and conflict to popular audiences. This field-defining book moves the debate from necessity to celebration of screen production research as elucidation, explication and understanding of human and social interests and conflict—that is, as a mode of enquiry.” (Distinguished Professor Stuart Cunningham, Queensland University of Technology, Australia)“Cutting through the forest of discourse about creative this and research that, artistic this and knowledge that, Batty and Kerrigan’s new collection illuminates the crisscrossing paths leading to where two worlds meet: the worlds of film production and of the academy. It looks closely at the push-and-pull of thinking, seeing, writing; technology, art, poetics; truth and representation and performance; and suggests productive ways of being, doing and making, in an engagingly elegant sequence of essays.” (Distinguished Professor Jen Webb, University of Canberra, Australia)
“As the possibilities for practice-based research expand both within and outside the academy, this exciting new collection introduces us to a range of creative and industry-embedded approaches to screen production research. Batty and Kerrigan are themselves leading the way in these areas and their collection showcases a number of practices, texts and methods which will be invaluable and impactful for students and scholars alike.” (Dr Bridget Conor, King's College London, UK)
“A timely and relevant contribution to the debate within creative practice presented through a series of critical reflections on case studies that offer a valid series of alternative research methods to those more generally aligned to the social sciences; that screen production – and all that this term encompasses – is a form of research. Focussing on data drawn from practitioner case studies rather than the metrics of the empiricists, what’s here provides a legitimate and equally robust alternative to traditional scientific measures of citations, bibliometrics, impact factor and ‘H-indices’ demonstrating that these are largely irrelevant tools for evaluating the value of screen production as research with its inherent ability to generate new and potentially transformative knowledge from data drawn from practice.” (Professor Paul Egglestone, University of Newcastle, Australia)
Editors and Affiliations
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School of Media and Communication, RMIT University, Melbourne, Australia
Craig Batty
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School of Creative Industries, University of Newcastle, Newcastle, Australia
Susan Kerrigan
About the editors
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) and Movies 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.
Bibliographic Information
Book Title: Screen Production Research
Book Subtitle: Creative Practice as a Mode of Enquiry
Editors: Craig Batty, Susan Kerrigan
DOI: https://doi.org/10.1007/978-3-319-62837-0
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s) 2018
Softcover ISBN: 978-3-319-62836-3Published: 17 January 2018
eBook ISBN: 978-3-319-62837-0Published: 19 December 2017
Edition Number: 1
Number of Pages: XXVI, 253
Number of Illustrations: 4 b/w illustrations, 13 illustrations in colour
Topics: Film and TV Production, Research Methodology, Digital/New Media, Screenwriting, Documentary