Susan Kerrigan
Dados Biográficos
| ID | 3534119 |
|---|---|
| NOME | Susan Kerrigan |
| PRENOMES | Susan |
| SOBRENOME | Kerrigan |
| ASSINATURA | KERRIGAN S |
| AFILIAÇÕES | University of Newcastle Australia |
| ORCID | 0000-0001-9937-8334 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 25 |
| TOTAL DE CITAÇÕES | 0 |
| TOTAL COMO AUTOR | 23 |
| TOTAL COMO EDITOR | 2 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2010 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 0 |
Examining the emergence of the ‘AI eye’ and its effect on the ‘creative treatment of actuality’ in computational non-fiction
Documentaries have frequently captured journeys to places audiences might not have seen before. The first documentary film Nanook of the North (1922), often referred to as a travel film, took viewers to the Canadian Artic for the first time. In 1929, The Man with a Movie Camera revealed the rhythm of the Soviet cities through the Kino-Eye. Now the documentary film genre, the City Film is taking viewers on a virtual tour into new digital synthetic…
Diversity and inclusivity education in an Australian Honours creative practice research program
Diversity and inclusivity remain important issues in the global screen industries, and efforts in Australia to address the lack of representation of gender and marginalised communities in both on-screen roles and creative teams have not yet led to significant improvement. This paper approaches the diversity and inclusivity issues from the perspective of a Higher Education institution, by presenting an Australian educational case study that examin…
Im/possible musical selves
A creative gift economy
Australia's creative industries and the impact COVID-19 had on cultural, employment and economic outputs is examined through the themes creative systems, creative migration, cultural volunteering and cultural tourism.Using a Creative System/Ecosystem theoretical framework, this research takes a retrospective view through data collected during the 'old normal' that was pre-pandemic Australia and presents findings on creative and cultural activitie…
A creative ecosystem
Using a creative ecosystems approach, this paper demonstrates that journalism is deeply embedded in the interconnected ecosystem of publishing and, at a higher level, the creative industries. Analysis of data from seven regional areas in New South Wales and Victoria revealed that newsrooms and journalists are vertically integrated with national and international journalistic practices and economic imperatives and also horizontally integrated with…
Entrepreneurship in the Creative Industries
This book places the creative industries and entrepreneurship firmly within a systemic approach to creativity and cultural production.
Podcasting as a Creative Practice and the Spirit of Radio
Addressing the question “how is a podcast created?” – four podcasters document their practice as research, framing their experiences as a research enquiry while making their first podcast. Practitioner Based Enquiry was the methodology and reflective practice was one of the methods underpinning the stages of podcasting production. These accounts of practice, and the reflective deliberations, are critically examined using Gidden’s Structuration an…
Creative industries careers
Creative careers are responding rapidly to new creative practices, new audiences, emerging digital platforms and technologies. These careers are well paid, resistant to automation and permeate all aspects of society. Yet students’ and teachers’ perceptions and attitudes are not in alignment with the reality of a job in Australia’s Creative Industries. Research exploring the perceptions of a creative career in high schools showed there was a signi…
The systemic relationship between creative failure and creative success in the creative industries
Success and failure in the creative and media industries are not polar opposites. In a predominantly neoliberal world, with its consuming emphasis on winning at all costs, success is not only easy to identify but is valorised, particularly for individuals, while failure is often hidden or perceived as negative. We argue that the relationship between success and failure is deeply symbiotic and should be examined from a systemic rather than an indi…
The creative sustainability of screen business in the Australian regions
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 conte…
The Palgrave Handbook of Screen Production
Screen Production Research
Creative practice research in filmmaking and screen production
This issue interrogates understandings of creative practice in screen production research within the framework of a broad range of activities that includes production and distribution of feature films to documentaries and to experimental audio-visual film genres. Screen production research here also includes enquiry into the education of future film and television\nprofessionals. The term ‘screen’ has been popular in Australia for the film and te…
Re-visioning screen production education through the lens of creative practice
The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component o…
Screen Production Research
Regional Creative Industries
The ‘Steel City’ of Newcastle, Australia, is transforming into a ‘Creative City’. Renew Newcastle provides a unique and innovative success story of the reactivation of 150 empty retail shops that were populated by ‘makers’ who could use those spaces as both studios and retail outlets to sell their authentic handmade products. Renew's story sits comfortably alongside four in-depth interviews with other Creative Industry (CI) business owners from f…
Still a burning issue
Valuing the production of screen works as research in the academy has become an urgent matter of research and scholarly equity facing the Australian screen production sector. Made up of filmmaker-academics this sector is collectively speaking out about a number of burning issues as evidenced in this article which deeply affect the kinds of scholarship and research enabled in the tertiary space. Representing the collective voices of a significant …
Australian feature films and distribution
Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the preeminent filmmaking form, feature films also serve as important lau…
Show, don't tell
‘Show, don’t tell’ is a well-known – if not clichéd – screenwriting principle, ingrained in\npractitioners to encourage them to use the visuality of the screen to tell their stories\nrather than rely on dialogue. This includes using actions, objects and worlds to create\nmeaning, and giving performers things to do to show the backstory and inner landscape\nof their character. It is also a principle that a director or cinematographer might use on-…
The spectator in the film-maker
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’ a…
Screen production enquiry
Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film and television practice, create challenges for students, supervisors, examiners and the overall dev…
Looking back in order to look forward
Filmmakers who are also academics want to make creative works as research. This has proven to be a challenging and time-consuming objective for practitioner-academics, despite governmental policy (namely, Excellence in Research for Australia (ERA)) advocating non-traditional research outputs. For example, it is one thing to make a\nfilm as research – but it is another to have it recognised as research within an institution, which usually includes…
Pursuing extreme romance
Innovation is at all times accompanied by tradition and creative action of all types takes place against a backdrop of continuity and change, as stated by Keith Negus and Michael Pickering in their 2004 book Creativity, Communication and Cultural Value. On page 91, they write: ‘It is only by thinking about their interrelationship that we can understand processes of creativity and cultural change.’ These assertions can be seen most readily in the …
Accommodating creative documentary practice within a revised systems model of creativity
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 do…
The ‘creative treatment of actuality’
Grierson defined documentary as ‘the creative treatment of actuality’. The aim of this article is to add to existing discussions of this phrase. Attention will be given to documentary as art, and the Griersonian notion of ‘artist’. An examination of the relationship between art, creativity and documentary production and consumption will rationalize and reconceptualize creativity for documentary practice. This reconceptualization of documentary cr…
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The ‘creative treatment of actuality’
Grierson defined documentary as ‘the creative treatment of actuality’. The aim of this article is to add to existing discussions of this phrase. Attention will be given to documentary as art, and the Griersonian notion of ‘artist’. An examination of the relationship between art, creativity and documentary production and consumption will rationalize and reconceptualize creativity for documentary practice. This reconceptualization of documentary cr…
Accommodating creative documentary practice within a revised systems model of creativity
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 do…
Pursuing extreme romance
Innovation is at all times accompanied by tradition and creative action of all types takes place against a backdrop of continuity and change, as stated by Keith Negus and Michael Pickering in their 2004 book Creativity, Communication and Cultural Value. On page 91, they write: ‘It is only by thinking about their interrelationship that we can understand processes of creativity and cultural change.’ These assertions can be seen most readily in the …
Screen production enquiry
Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film and television practice, create challenges for students, supervisors, examiners and the overall dev…
Looking back in order to look forward
Filmmakers who are also academics want to make creative works as research. This has proven to be a challenging and time-consuming objective for practitioner-academics, despite governmental policy (namely, Excellence in Research for Australia (ERA)) advocating non-traditional research outputs. For example, it is one thing to make a\nfilm as research – but it is another to have it recognised as research within an institution, which usually includes…
Regional Creative Industries
The ‘Steel City’ of Newcastle, Australia, is transforming into a ‘Creative City’. Renew Newcastle provides a unique and innovative success story of the reactivation of 150 empty retail shops that were populated by ‘makers’ who could use those spaces as both studios and retail outlets to sell their authentic handmade products. Renew's story sits comfortably alongside four in-depth interviews with other Creative Industry (CI) business owners from f…
Still a burning issue
Valuing the production of screen works as research in the academy has become an urgent matter of research and scholarly equity facing the Australian screen production sector. Made up of filmmaker-academics this sector is collectively speaking out about a number of burning issues as evidenced in this article which deeply affect the kinds of scholarship and research enabled in the tertiary space. Representing the collective voices of a significant …
Australian feature films and distribution
Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global film festival circuit. As the preeminent filmmaking form, feature films also serve as important lau…
Show, don't tell
‘Show, don’t tell’ is a well-known – if not clichéd – screenwriting principle, ingrained in\npractitioners to encourage them to use the visuality of the screen to tell their stories\nrather than rely on dialogue. This includes using actions, objects and worlds to create\nmeaning, and giving performers things to do to show the backstory and inner landscape\nof their character. It is also a principle that a director or cinematographer might use on-…
The spectator in the film-maker
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’ a…
Screen Production Research
Screen Production Research
Creative practice research in filmmaking and screen production
This issue interrogates understandings of creative practice in screen production research within the framework of a broad range of activities that includes production and distribution of feature films to documentaries and to experimental audio-visual film genres. Screen production research here also includes enquiry into the education of future film and television\nprofessionals. The term ‘screen’ has been popular in Australia for the film and te…
Re-visioning screen production education through the lens of creative practice
The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component o…
The Palgrave Handbook of Screen Production
The systemic relationship between creative failure and creative success in the creative industries
Success and failure in the creative and media industries are not polar opposites. In a predominantly neoliberal world, with its consuming emphasis on winning at all costs, success is not only easy to identify but is valorised, particularly for individuals, while failure is often hidden or perceived as negative. We argue that the relationship between success and failure is deeply symbiotic and should be examined from a systemic rather than an indi…
The creative sustainability of screen business in the Australian regions
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 conte…
Entrepreneurship in the Creative Industries
This book places the creative industries and entrepreneurship firmly within a systemic approach to creativity and cultural production.
Podcasting as a Creative Practice and the Spirit of Radio
Addressing the question “how is a podcast created?” – four podcasters document their practice as research, framing their experiences as a research enquiry while making their first podcast. Practitioner Based Enquiry was the methodology and reflective practice was one of the methods underpinning the stages of podcasting production. These accounts of practice, and the reflective deliberations, are critically examined using Gidden’s Structuration an…
Creative industries careers
Creative careers are responding rapidly to new creative practices, new audiences, emerging digital platforms and technologies. These careers are well paid, resistant to automation and permeate all aspects of society. Yet students’ and teachers’ perceptions and attitudes are not in alignment with the reality of a job in Australia’s Creative Industries. Research exploring the perceptions of a creative career in high schools showed there was a signi…
Im/possible musical selves
A creative gift economy
Australia's creative industries and the impact COVID-19 had on cultural, employment and economic outputs is examined through the themes creative systems, creative migration, cultural volunteering and cultural tourism.Using a Creative System/Ecosystem theoretical framework, this research takes a retrospective view through data collected during the 'old normal' that was pre-pandemic Australia and presents findings on creative and cultural activitie…
A creative ecosystem
Using a creative ecosystems approach, this paper demonstrates that journalism is deeply embedded in the interconnected ecosystem of publishing and, at a higher level, the creative industries. Analysis of data from seven regional areas in New South Wales and Victoria revealed that newsrooms and journalists are vertically integrated with national and international journalistic practices and economic imperatives and also horizontally integrated with…
Examining the emergence of the ‘AI eye’ and its effect on the ‘creative treatment of actuality’ in computational non-fiction
Documentaries have frequently captured journeys to places audiences might not have seen before. The first documentary film Nanook of the North (1922), often referred to as a travel film, took viewers to the Canadian Artic for the first time. In 1929, The Man with a Movie Camera revealed the rhythm of the Soviet cities through the Kino-Eye. Now the documentary film genre, the City Film is taking viewers on a virtual tour into new digital synthetic…
Diversity and inclusivity education in an Australian Honours creative practice research program
Diversity and inclusivity remain important issues in the global screen industries, and efforts in Australia to address the lack of representation of gender and marginalised communities in both on-screen roles and creative teams have not yet led to significant improvement. This paper approaches the diversity and inclusivity issues from the perspective of a Higher Education institution, by presenting an Australian educational case study that examin…
Sociology (17 obras) · Cultural Industries and Urban Development (16 obras) · Artistic and Creative Research (14 obras) · Political science (13 obras) · Art (10 obras) · Creativity (9 obras) · Economics (9 obras) · Engineering (9 obras) · Computer Science (8 obras) · Creativity in Education and Neuroscience (8 obras)