International Journal of Creative Media Research
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109 research outputs found
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Doing/Thinking: About (facing away from the direction of travel)
No full textThis research is a reflective exploration of ways of layering and presenting. It serves as an attempt to explicate my emerging/ent methodology/ical approach and open up the commonalities between practice/process/research and ways of recording praxis and thinking. This statement is written in relation to my installation, About (facing away from the direction of travel), which was shown at the Birmingham School of Art in October 2018.
You can visit Ana Rutter’s website to explore more of her research, which is concerned with the processes of affective experience created through re-mediated gathered material
The Femme Fatale and the Female Screenwriter: Disrupting the Stereotype
No full text‘I am back, you bastards’, declares Tilly (Kate Winslet). She smokes a cigarette and wears an evocative white cartwheel hat in the dead of night. This is the opening line of the film The Dressmaker (2015) written and directed by the Australian filmmaker Jocelyn Moorhouse, based on the 2000 novel of the same name by Rosalie Ham. With a mixture of spaghetti western, noir, comedy and drama genre elements, this film recreates the archetype of the femme fatale with a depth rarely seen in such characters. What also makes Tilly ground-breaking is the fact that she is the protagonist of the story, and instead of luring men, she lures the town’s demure women through the beauty of haute couture to uncover the truth about her past and get revenge on those who wronged her. The Dressmaker thus contributes to a female-centric approach to the femme fatale archetype in the film noir genre.
Using The Dressmaker as a case study, this article will draw a parallel between Tilly’s character and the development of the protagonist in my own creative-practice screenplay, Indecent, an erotic thriller driven by a femme fatale detective. Employing narrative theory developed over several screenwriting texts as well as analysing popular discourses around the femme fatale archetype and their intertextual aspects, the objective is to explore through personal reflections how the film The Dressmaker can inform the development of my screenplay’s protagonist towards creating an authentic feminist portrayal of the femme fatale archetype, whilst preserving some classic femme fatale traits in order to pursue a multifaceted and subversive representation of these characters on screen
How Do You Write for What the Camera Can’t Do: Scriptwriting, Animation, & Transmedia Storytelling
No full textHow do we write for what the camera can’t do? How do we imagine and create for a medium which resists definition, is constantly evolving, and ‘is a protest against the stationary condition’? (Dragic et al, 1972: 9). How might a writer realise in the initiating instances of pre-production, what may become and potentially catalyse the illusion to life? This article considers how the means of writing may reveal insights into animation. It will particularly focus on an analysis of my own writing practice for animation for the animated short film Fallow. This story is one component of an ongoing practice-as-research transmedia storytelling project in development at the University of South Wales. This project was created to explore the specificities of a medium, transmedia storytelling and the relationships found between these through the practice of creative writing and scriptwriting. The project draws on aspects of Punch and Judy and the themes of identity, memory and perception which are explored within each story across each of the primary components of: Fallow (animation), The Pier (comic), Desistence (computer game), The Deep Machine (songs), Observance (journal), dell’ Arte (mixed media), Stain (music video) and The Quay (novel). This article discusses the process of writing for animation while considering a transmedia cosmology, and through examining the creation of the short film script Fallow what, for the writer, this may reveal about animation.
 
Affective Cinema: Experimenting with Feelings of Meaning
No full textAffective Cinema is an AHRC-funded practice research project in film, informed by art cinema, experimental film traditions, film theory and philosophy. The outcomes of the research are films that combine aspects of cinematic style, nuances of performance and elements of chance. When all these attributes align in an unpredictable way, a feeling of meaning can be produced: a moment of cinema that is engaging and captivating without trying to tell a story or communicating something specific or intentional through the film. The research thereby aims to expand the potential of the cinematic form by producing experimental film structures in which this feeling of meaning can be identified, and by testing and developing methods that can lead to its emergence. The research also seeks to unite the practice and theory in a unique way – bringing the theory directly into the practice through a poetic voice-over. This submission to IJCMR represents a new version of Affective Cinema, one that was designed especially for the MediaWall at Bath Spa University, and which was exhibited between March 26–April 5 2019.
Affective Cinema is the 2019 winner of our MediaWall Award, our annual award in creative media research that aims to provide researchers with an opportunity to produce, curate and disseminate creative media-based research for a unique platform and audience.
 
Mummy's Not For Me: Changing the Stigmatisation of Women Who Dare Not to Bear - A Creative Campaign
No full textThis work is one of two 2023 winners of our Centre for Media Research Student Award, a special prize awarded to a final-year Media Communications student. This work stems from the Media Communications Final Project, a module which asks students to embark on a challenge-led research project, the insights from which are disseminated as a cross-platform communications campaign for a real audience. The winner of the award is invited to publish both their background research alongside their creative campaign as a journal article.
What follows is a short walkthrough video of both the research and the campaign, followed by a detailed presentation of the work in full - the Research Portfolio and the Campaign
(In-)Between Spaces: Challenges in Defining the Experience of Space in Mixed Reality Art Exhibitions
No full textTechnology-driven design can support the creation of storytelling experiences that offer innovative ways of transmitting knowledge and information. Against the backdrop of criticisms by museums’ and art galleries’ visitors,’ who demand more participatory approaches in exhibitions’ design, new technologies have also emerged as tools for making art relevant again, and making museums and galleries hybrid places where the virtual and digital aspects of stories can be combined with corresponding physical artefacts. Observing people's reactions and behaviours in those hybrid environments requires an examination of the ways in which they engage with space in the process of meaning-making, by changing and adapting the space to suit their means.Theoretical literature has thoroughly parsed the concept of space, but in the context of mixed-reality experience design, it has become hazy again. In the article, we explore practitioners’ views on the ontological issues with defining experience space and discuss its in-betweenness, inseparability and unrealness. 
Is This Even Possible?: Co-creating University and Industry Learnings for Immersive Experiences
No full textThis article discusses an ambitious university-industry collaboration based at the University of South Wales that was designed to further develop digital storytelling practice within the UK Creative Industries. During this UKRI-funded, Audience of the Future R&D demonstrator project, the authors collaborated with Bristol-based animation studio Aardman, who were both licensors and content contributors for an immersive transmedia experience called The Big Fix Up based on the globally loved Wallace and Gromit intellectual property. Working closely with Aardman, the consortium drew upon their combined skills in games production, animation, creative marketing and new technology development to create a mobile application that marries Wallace and Gromit with mobile storytelling and the latest augmented reality and mixed reality technologies. One of the key aims of this larger industry-led demonstrator programme was to propel new immersive storytelling insights informed by extensive audience research. In their article, Davies and Patrickson examine this university-industry collaboration in methodological terms, outlining the factors that enabled them to negotiate cross-sector issues whilst reflecting on the multi-faceted approach to audience research that emerged from those negotiations
Y Trydydd Masg [The Third Mask]
No full textY Trydydd Masg [The Third Mask] uses 360 video (via the third mask of the title) to create a virtual documentary about the author's experience of moving from Wales to Aotearoa (New Zealand). The work uses and challenges the emerging orthodoxies around 360 Documentary Video to intensify the idea of location, whilst also conveying the paradox of the author's (dis)connection from his ‘native square mile'. In addition, the work uses Poetic Inquiry and musical improvisation as methods through which a critical reading of Dirlik’s notion of ‘groundedness’ can be embodied in the weave of a creative text. In so doing, the process also reveals the nascent influence of a Māori-inflection to the question of identity, and academic argumentation
Kimey Peckpo Hatches Out: A mythopoeic self-destruction story
No full textKimey Peckpo Hatches Out is the title of the film around which I created a performative installation and features a fictional projection of a nomadic keynote performance speech persona. The problem in identifying the film’s place in a causal creative chain highlights my methodology of using the fiction machine as a means of speculating about an aesthetic ontology, which I regard as a realm where making and making-up are the central mode of being or becoming. The film is a further development of a methodology established in the keynote performance I gave of the Technological Nonconscious, created with my then supervisor Professor Tony Sampson for the 3rd Affect and Social media conference at the University of East London in October 2018. This performance had the effect of situating the peripheral story of KPHO in the middle of my practice and led to the development of the film as a direct interrogation of how an aesthetic ontology could be inhabited by a relational, opening-out of the self, moving towards an embodied knowledge. As the film’s opening demonstrates, KPHO became a means of exploring this self as the body without organs:
The body without organs is an egg: it is crisscrossed with axes and thresholds, with latitudes and longitudes and geodesic lines, traversed by gradients marking the transitions and the becomings (2003:19
Code as Prosthesis
No full textI am a composer, musician, and graphic artist who has been writing computer algorithms as part of his artistic practice for the past twenty years. Code as Prosthesis is a concept that has its genesis in my desire to grapple with a seeming paradox within this practice - namely, that ceding control to the agency of an algorithm (i.e. the code) seemed to result in a greater expression of my 'self'