Accommodating creative documentary practice within a revised systems model of creativity

Datos Bibliográficos

ID20207699
AutoresSusan Kerrigan (0000-0001-9937-8334, University of Newcastle Australia, autor de correspondencia)
Año2013
Volumen14
Número2
Páginas111-127
Fecha de publicación2013-01-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of Media Practice (JOURNAL)
Identificadores de la revistaISSN: 1468-2753 • E-ISSN: 2040-0926
EditorialInforma UK Limited (PUBLISHER • GB)
DOI10.1386/jmpr.14.2.111_1
OpenAlexW2323723171
IdiomaEN
Citas recibidas11
Referencias citadas11

Practice-led research using person-centred theories of creativity is being challenged by confluence approaches to creativity. ‘The systems model of creativity’ (Csikszentmihalyi 1999: 315) represents one confluence theory, which re-conceptualizes creativity by immersing the agent in a cultural and social system that enables and constrains creative practice. Using the systems model as a theoretical foundation, this research examines my creative documentary practice during the production of an oral history documentary. Using Fort Scratchley, a linear 53-minute documentary, and an online multimedia companion, Fort Scratchley a Living History (www.fortscratchley.org), both detail the military and maritime history of Fort Scratchley, at Newcastle, Australia. Critical reflections on my embodiment and immersion in the content of the domains and fields of Fort Scratchley and documentary practice confirm the appropriateness of the systems model for creative practice research. However, an updated version of the model was generated to provide a more effective representation of how a practitioner internalizes their creative system

Aesthetics · Archaeology · Art · Creativity · Documentary evidence · Sociology · Visual arts · Art Education and Development · Artistic and Creative Research · Creativity in Education and Neuroscience · History · Psychology · Social Psychology