ORCID Profile
0000-0002-9214-4305
Current Organisation
University of South Australia
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Publisher: Springer Singapore
Date: 2021
Publisher: Informa UK Limited
Date: 04-05-2023
Publisher: Informa UK Limited
Date: 17-02-2022
Publisher: Intellect
Date: 03-2017
Abstract: The epistle has long associations with the essay film not only through the notable filmmakers who have used the form, but also in how it addresses an audience. This tendency reflects the lineage of the development of the Montaignian literary essay from private letter to public audience. In this article I explore the use of the epistolary address, both formally within the text, and as part of the filmmaking process in the construction of a subjectivity that is always relational and contingent. Framed by a number of essayistic works that make use of the epistle – the filmed correspondences of José Luis Guerin, Jonas Mekas, Fernando Eimbcke and So Yong Kim (2009–11), Chantal Akerman’s News from Home (1977) and Ross McElwee’s The Photographic Memory (2012) – this article discusses the process of making my film, Closer Than They Appear (Munro, 2016). I also draw on theories of epistolary transcendence of time and space (Naficy) and collective subjectivity (Braidotti). Through these films I propose the letter film to be a transformative process that shifts the filmmaker’s subjectivity towards a more collective and relational position through the act of address.
Publisher: Informa UK Limited
Date: 03-03-2023
Publisher: Digital Cultures Research Centre Press, UWE Bristol
Date: 2018
Abstract: In December 2016 over 150 permanent residents at the Wantirna Caravan Park were handed eviction notices and given a year to vacate. The Park (2019) explores the final eight months before the closure. This film de-centres narrative to provide a series of vignettes of life in the park as the residents collect petitions, write letters and hold roadside protests.
Publisher: Australasian Association of Writing Programs
Date: 30-10-2019
DOI: 10.52086/001C.23585
Abstract: Public diary-reading events, arguably originating in the USA in 2002, continue to draw participants eager to share their teenage angst and juvenilia, yet there is little scholarly reflection on this peripheral practice of performative writing. Having birthed our own version in 2017 – within the safe harbour of the academy and using an intuitive, practice-based methodology – we believe there are some useful questions to pose about the autoethnographic contributions of this mortification rite. Eighteen months in, we are further moved to ask, what is happening in the presentational and performative space as we show our younger selves to one another as we have, and do? This article, a follow-up to our previous Diarology for beginners (2019), formally reiterates on the page the associative leaps and communal meaning-making arising from our explorations so far. Prompted by questions, such as, ‘Is the practice of diary keeping inherently gendered? Is it about becoming visible? Audible? Memorable? What? And what is the impulse to publicly share the archives?’ (Munro, Murray and Taylor 2019), we draw on the literature around diary keeping, as well as theories on voice, gender and creative autoethnography, as a way into understanding diary performing and the public sharing of juvenile shame.
Publisher: Informa UK Limited
Date: 14-10-2023
Publisher: Emerald
Date: 04-02-2019
Abstract: The purpose of this paper is to discuss the practice as research of a site-specific audio documentary project made while on a residency in North Iceland. This project uses the application of a methodology of listening in the creation of the work. The author claims that rather than focusing on the concept of voice in documentary, listening reveals the inherent ecology and inter-relatedness of the documentary materials. A practice of listening in documentary making can reveal multiple co-existing relationships.
Publisher: Intellect
Date: 03-07-2023
Publisher: Informa UK Limited
Date: 29-01-2020
Publisher: Informa UK Limited
Date: 03-08-2022
Publisher: Springer International Publishing
Date: 2018
Publisher: Ryerson University Library and Archives
Date: 25-05-2022
Abstract: Documentary has traditionally been used and understood as a communicative tool to frame and impart knowledge about a subject matter. For Paula Rabinowitz, documentary’s “purpose is to speak and confer value on the objects it speaks about” (1994). But what other functions might documentary have if it were to draw attention to how we can also listen? Over the past twenty-five year, listening scholarship has focused on a number of domains including the public sphere (Lacey 2013), participatory democracy (Bickford 1996 Couldry 2010), and media practices (Dreher 2009). Yet, while ‘voice’ as authorship and social participation has been well theorised in documentary, there has been little scholarly attention given to how audiences listen, and what strategies creators can use to evoke different ways of listening. The possibilities for listening as an active role in documentary have further been enhanced through interactive technologies. In this presentation, I draw on my current research and practice around the possibilities for interactive and expanded documentary to promote listening as a way to attend to ethical and political questions. Listening is not a singular action, rather, it can fulfill multiple functions. I propose that practices of listening can reframe the self as collective, reveal multiple co-existing narratives, counter erasure, promote engagement with difference and destabilise a anthropocentric perspective. Drawing on frameworks which include political, non-representational and sound theory, I ground my propositions through a range of interactive and immersive documentaries from the past ten years, each of which attempts to implicate the audience in new and responsible relationships to the historical and phenomenological world.
Publisher: Informa UK Limited
Date: 02-09-2018
Location: Australia
No related grants have been discovered for Kim Munro.