Constructions of the Real

Description

Constructions of the Real features a wide range of writing from non-fiction and documentary filmmakers who undertake theoretically informed practice and think through making. These global filmmakers and writers straddle the divide between the academy and industry and they reflect on, interrogate and explicate their filmmaking practices in relationship to questions of form, content, and process.

The book is in four sections. The first is on intimate, first-person works where memory and identity are explored. The second features responses to and interventions in historical and dominant relationships to place. The third explores multivarious forms of essay films. In the final section, filmmakers discuss the precarity of non-fiction filmmaking in its form and financial rewards. This book is anti-colonial, in that it offers diverse new voices and new practices promoting hybridity and experimentation and makes claims for knowledges that fall outside of traditional scholarship. This book presents the silenced and the marginalized.

It engages with current debates about the role of creative scholarship and makes a claim for non-fiction filmmaking as a knowledge-making practice for revealing, critiquing, and interpreting the world.

Contributors include Kaveh Abbasian, Judith Aston, Nicholas Andueza, Elisabeth Brun, Joanna Callaghan, Gerda Cammaer, Philip Cartelli, Lorena Cervera, Jill Daniels, Kath Dooley, Aggie Ebrahimi Bazaz, Andréa França, Catherine Gough-Brady, Robert Hardcastle, Alex Johnston, Elizabeth Miller, Ros Mortimer, Kim Munro, Minou Norouzi, Stefano Odorico, Rebecca Ora, Sheersha Perera, Christine Rogers, Isabel Seguí, Jeni Thornley and Masha Vlasova.

List of Figures 

Foreword

Judith Aston and Stefano Odorico

Thinking through Making in Non-Fiction Film

Christine Rogers, Kim Munro, Liz Burke and Catherine Gough-Brady

PART 1: THIS LENS MY EYE: FIRST PERSON, ETHNOGRAPHIC AND AUTOBIOGRAPHICAL FILMMAKING

Christine Rogers

1. The Enigma of Film – ‘Memory Film: A Filmmaker’s Diary’

Jeni Thornley

2. Psychogeographical Choreography: On Filming Hand-Held

Masha Vlasova

3. Remaking Absurd Pictures

Rebecca Ora/rora

4. Creating/Recreating Memory: Cultural Menstruation Rituals through the Making of the Hybrid Documentary Big Girl

Sheersha Perera

5. Phantom Limbs and Failed Messages: A Phenomenological Provocation of First Person Film

Joanna Callaghan

6. Korimako and Macrocarpa Trees: Exploring Māori Experiences of Place through a Lens

Christine Rogers

PART 2: CONTESTED PLACES: FROM COLONIZATION TO CO-CREATION

Kim Munro

7. Interrogating Power and Unsettling Relations to Place in Documentary

Elizabeth Miller and Aggie Ebrahimi Bazaz

8. Acclimations: Speculations on Making Documentary in the Climate Emergency

Kim Munro

9. In Search of Ambiguity

Philip Cartelli

10. Can Sound Be Used to Challenge the Colonial Legacies of Silent Archival Film?

Robert Hardcastle

11. Fraught Narratives, Archival Traces: Documentary Experiments in Carceral History

Alexander Johnston

PART 3: THE EXPANDED ESSAY FILM: THINKING WITH IMAGES AND SOUNDS

Liz Burke

12. Cinematic Aesthetics of Resistance: Reframing the Non-fiction Oppositional Film

Jill Daniels

13. Flaunting Artifice: Restaging History as Critical Fabulation in The Deathless Woman

Roz Mortimer

14. Tracing Yugoslavia: The Use of Narrative Time and Narrative Space to Re-Vision a Disappeared lieux de memoire (Memory-Site)

Mila Turajlic

15. The Creative Ti(d)es of Sea-Changes: Musings on the Making of an Eco-Avant-Doc

Gerda Cammaer

16. Weaving Fragments Together: Narrative and the Korsakow-Based Film

Liz Burke

17. The Expanded Essay Film: The Researcher-Filmmaker as a Topographical Thinker

Elisabeth Brun



PART 4: NOTICING THE FRAME AND THE FORM

Catherine Gough-Brady

18. Refugee Filmmaking: Finding Agency through the Lens

Kaveh Abbasian

19. Passeio Público: The Life of Images and the Irresistible Fascination of Archival Film

Andréa França and Nicholas Andueza

20. #PrecarityStory: Academic Casualization and Feminist Filmmaking

Lorena Cervera and Isabel Seguí

21. Exploring Viewer Positioning and Attention Cues in a Cinematic Virtual Reality Documentary: A Creative Research Project

Kath Dooley

22. Not Another Moment of Your Salvation: Documentary, Art Practice and Their Empathic Misadventures

Minou Norouzi

23. Three Questions: A Practitioner’s Approach to the Documentary Form

Catherine Gough-Brady



Notes on Contributors

Sujets

• Techniques cinématographiques
• Film
• Documentary film
• Screenwriting
• Film director
• Korsakow
• Película fotográfica
• Genres

Informations

• Publié par: Intellect Books
• Date de parution: 14 avril 2023
• Nombre de lectures: 4
• EAN13: 9781789387452
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Constructions of the Real
Artwork Scholarship: International Perspectives in Education
Series editors: Anita Sinner and Rita Irwin
The aim of the Artwork Scholarship series is to invite debate on, and provide an essential resource for, transnational scholars engaged in creative research involving visual, literary and performative arts. Approaches may include arts-based, practice-based, a/r/tography, artistic, research creation and more, and explore pedagogical and experimental perspectives, reflective and evaluative assessments, methodological deliberations, and ethical issues and concerns in relation to a host of topic areas in education.
Published previously:
Provoking the Field: International Perspectives on Visual Arts PhDs in Education , edited by Anita Sinner, Rita L. Irwin and Jeff Adams (2019)
Living Histories: Global Conversations in Art Education , edited by Dustin Garnet and Anita Sinner (2022)
Community Arts Education: Transversal Global Perspectives , edited by Ching-Chiu Lin, Anita Sinner and Rita L. Irwin (2023)
Constructions of the Real
__________________________________________________________________
Intersections of Documentary-Based Film Practice and Theory
EDITED BY
Christine Rogers, Kim Munro, Liz Burke and Catherine Gough-Brady
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover designer: Tanya Montefusco
Cover image: London 1988, Joanna Callaghan (dir.), Record (2022). UK/Australia. Copyright Joanna Callaghan
Production manager: Laura Christopher
Typesetter: MPS Limited
Hardback Print ISBN 978-1-78938-743-8
ePDF ISBN 978-1-78938-744-5
ePUB ISBN 978-1-78938-745-2
Artwork Scholarship: International Perspectives in Education
ISSN 2632-7872 / Online ISSN 2632-9182
To find out about all our publications, please visit our website. There you can subscribe to our e-newsletter, browse or download our current catalogue and buy any titles that are in print.
www.intellectbooks.com
This is a peer-reviewed publication.
Contents
List of Figures
Foreword
Judith Aston and Stefano Odorico
Thinking through Making in Non-Fiction Film
Christine Rogers, Kim Munro, Liz Burke and Catherine Gough-Brady
PART 1: THIS LENS MY EYE: FIRST PERSON, ETHNOGRAPHIC AND AUTOBIOGRAPHICAL FILMMAKING
Christine Rogers
1. The Enigma of Film - Memory Film: A Filmmaker's Diary
Jeni Thornley
2. Psychogeographical Choreography: On Filming Hand-Held
Masha Vlasova
3. Remaking Absurd Pictures
Rebecca Ora/rora
4. Creating/Recreating Memory: Cultural Menstruation Rituals through the Making of the Hybrid Documentary Big Girl
Sheersha Perera
5. Phantom Limbs and Failed Messages: A Phenomenological Provocation of First Person Film
Joanna Callaghan
6. Korimako and Macrocarpa Trees: Exploring M ori Experiences of Place through a Lens
Christine Rogers
PART 2: CONTESTED PLACES: FROM COLONIZATION TO CO-CREATION
Kim Munro
7. Interrogating Power and Unsettling Relations to Place in Documentary
Elizabeth Miller and Aggie Ebrahimi Bazaz
8. Acclimations: Speculations on Making Documentary in the Climate Emergency
Kim Munro
9. In Search of Ambiguity
Philip Cartelli
10. Can Sound Be Used to Challenge the Colonial Legacies of Silent Archival Film?
Robert Hardcastle
11. Fraught Narratives, Archival Traces: Documentary Experiments in Carceral History
Alexander Johnston
PART 3: THE EXPANDED ESSAY FILM: THINKING WITH IMAGES AND SOUNDS
Liz Burke
12. Cinematic Aesthetics of Resistance: Reframing the Non-fiction Oppositional Film
Jill Daniels
13. Flaunting Artifice: Restaging History as Critical Fabulation in The Deathless Woman
Roz Mortimer
14. Tracing Yugoslavia: The Use of Narrative Time and Narrative Space to Re-Vision a Disappeared lieux de memoire (Memory-Site)
Mila Turajlic
15. The Creative Ti(d)es of Sea-Changes : Musings on the Making of an Eco-Avant-Doc
Gerda Cammaer
16. Weaving Fragments Together: Narrative and the Korsakow-Based Film
Liz Burke
17. The Expanded Essay Film: The Researcher-Filmmaker as a Topographical Thinker
Elisabeth Brun
PART 4: NOTICING THE FRAME AND THE FORM
Catherine Gough-Brady
18. Refugee Filmmaking: Finding Agency through the Lens
Kaveh Abbasian
19. Passeio P blico : The Life of Images and the Irresistible Fascination of Archival Film
Andr a Fran a and Nicholas Andueza
20. #PrecarityStory: Academic Casualization and Feminist Filmmaking
Lorena Cervera and Isabel Segu
21. Exploring Viewer Positioning and Attention Cues in a Cinematic Virtual Reality Documentary: A Creative Research Project
Kath Dooley
22. Not Another Moment of Your Salvation: Documentary, Art Practice and Their Empathic Misadventures
Minou Norouzi
23. Three Questions: A Practitioner's Approach to the Documentary Form
Catherine Gough-Brady
Contributors
Figures 1.1 Jeni at Mangana lieta (The Gorge), Launceston, Tasmania (1976). 1.2 Grading the super8, Christina Sparrow, National Film & Sound Archive, Ngunnawal (Canberra). 1.3 Penn, Neb and Jeni, lesbian/feminist/festival/conference, Dharawal (Minto) (1977). Photo Coralie Kronenberg. 2.1 Film still, Masha Vlasova (dir.), Monuments and Other Things that Change, Several Attempts at Titling a Photography, a Film in the Works , (2015). USA/Kyrgyz Republic. Copyright Masha Vlasova. 2.2 Film still, Masha Vlasova (dir.), Monuments and Other Things that Change, Several Attempts at Titling a Photography , a Film in the Works , (2015). USA/Kyrgyz Republic. Copyright Masha Vlasova. 2.3 Film still from Frame Work , a more recent film where I continue to employ dérive with the camera. Masha Vlasova (dir.). Frame Work , (2018). USA. Copyright Masha Vlasova. 3.1 What can this absurd picture be doing here? Copyright Rebecca Ora. 3.2 Dysentery. Copyright Rebecca Ora. 3.3 Not yet 32 years old. Copyright Rebecca Ora. 3.4 Here is another type of idiot. Copyright Rebecca Ora. 4.1 දින ‘dina’ – Days: Sheersha Perera (dir.) Big Girl (2022). Australia/Sri Lanka. Copyright Sheersha Perera. 4.2 රෙදි අම්මා ‘redi amma’ – Dhobi Woman: Sheersha Perera (dir.) Big Girl (2022). Australia/Sri Lanka. Copyright Sheersha Perera. 4.3 ලමායා ‘lamāyā’ – Child: Sheersha Perera (dir.) Big Girl (2022). Australia/Sri Lanka. Copyright Sheersha Perera. 4.4 ලේ ගැලීම lē gælīma – Bleeding: Sheersha Perera (dir.) Big Girl (2022). Australia/Sri Lanka. Copyright Sheersha Perera. 5.1 Kakadu (2018), Joanna Callaghan (dir.), Record (2020). Copyright Joanna Callaghan. 5.2 London 1998, Joanna Callaghan (dir.), Record (2020). Copyright Joanna Callaghan. 6.1 Riverton/Aparima was a typical small NZ town. Copyright Christine Rogers. 6.2 The Colac Bay property seemed abandoned and unloved. Copyright Christine Rogers. 6.3 Mature macrocarpa trees, sentinels from colonial times. Copyright Christine Rogers. 7.1 Aggie Ebrahimi Bazaz (dir.) How to Tell a True Immigrant Story (2019): speakers recount daily life under the threat of ICE activity. 7.2 Liz Miller, Kim Grinfeder and Juan Carlos Zaldivar (dir.) SwampScapes (Miller, 2018) in scene ‘Thinking With Water’. 7.3 Aggie Ebrahimi (dir.) How to Tell a True Immigrant Story (2019). Scene from the interrogation room, (L) ‘Interviewee’ Ana Cruz; (centre) ‘interviewer’ Matt Bagley. 7.4 Liz Miller, Kim Grinfeder and Juan Carlos Zaldivar (dir.) SwampScapes (Miller, 2018). Image from ‘Ceremony’ with Reverend Houston R. Cypress. 10.1 Sun Pictures, Broome, 2019. The silent film projector is still on display, the one that would have been in place when the Wylie expedition passed through the town in 1926. Image by Rob Hardcastle. 10.2 Old Broome Jetty Site (Groyne Area), 2019. A working pier when the expedition passed through in 1926, now rubble being reclaimed by the sea. Image by Rob Hardcastle. 11.1 Alexander Johnston (dir.), A Costly Lesson (2015). Meadow where Harlem prisoners are buried. 11.2 Alexander Johnston (dir.) A Costly Lesson (2015). Names of the men suffocated at the Harlem Prison Farm. 11.3 Alexander Johnston (dir.) Evidence of the Evidence (2018). ‘I'll give the camera to you, and you can just narrate it.’ Police officers documenting evidence gathered in the aftermath of the Attica prison uprising. 11.4 Alexander Johnston (dir.), Dark Cell Harlem Farm (2022). Community activist, preservationist, and former prison guard, Reginald Moore. 12.1 Phyliss Richardson, grandmother of Jason McPherson, in Po Po (2020). Copyright Migrant Media. 12.2 Oliver Ressler (dir.) Everything's coming together while everything's falling apart: Ende Gelände (2016). Courtesy of the artist, àngels Barcelona, The Gallery Apart, Rome. 12.3 Holocaust Memorial, Berlin, in Resisters (2021). Courtesy of Jill Daniels. 13.1 The Gypsy-Family Camp BII, Auschwitz-Birkenau. (SS Central Construction Management, 1943.) 13.2 Hotel Modern Kamp (2005). 13.3 Film still: Helle (dir.) The History of the World: Part 11 (2004). 13.4 Film still: Mortimer (dir.) The Deathless Woman (2019). 15.1 The film Sea-Changes is an assemblage of different media ecologies. 15.2 Film still: Survival/Survie (n.d.) portraying ecological dread. 16.1 Korsakow editing tool. 16.2 Aliens Among Us showing ‘Art1’. 16.3 Aliens Among Us showing ‘Grief’. 17.1 A heap of waste by the seashore. The mountain ‘Claw Peak’ is a local landmark, but is here cropped by the framing of the camera. From ‘Gaps and Fissures’ in 3xShapes of Home (2020). 17.2 My grandparent's kitchen. From ‘Sediments’ in 3xShapes of Home . 17.3 Halibut fishing and the ocean