ORCID Profile
0000-0002-5235-7250
Current Organisation
University of South Australia
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Publisher: Springer International Publishing
Date: 2019
Publisher: University College Cork
Date: 20-12-2022
DOI: 10.33178/ALPHA.24.00
Abstract: In recent years, in iduals and groups from inside and outside of academia have called for greater ersity on screen, resulting in c aigns such as #MeToo, #TimesUp, and #OscarsSoWhite. In particular, the gender imbalance that exists on screen and behind the camera has been a particular point of focus. Our aim for this special issue is to present research that suggests a way forward for practitioners, educators and members of the broader screen industries from all over the globe with regard to improving gender and ersity imbalances. We note important prior studies and projects exploring screen ersity in industry and educational contexts. We then explore ongoing issues and barriers for the fostering of ersity, such as practitioner perceptions of slow change, organisational initiatives, the impact of caring duties, and television cultures. The editorial ends by presenting an overview of strategies to effect change through screen education.
Publisher: Intellect
Date: 09-2017
Publisher: University College Cork
Date: 20-12-2022
DOI: 10.33178/ALPHA.24.07
Abstract: This article asks how educators at tertiary level might attempt to address gender ersity behind the camera in student productions. The 2020 Australian Screen Production Education and Research Association (ASPERA) report Diversity On and Off Screen in Australian Film Schools outlines the results of a national survey measuring levels of gender ersity behind the camera in Australian university capstone (major project-based) screen production units. The survey results reveal that, while close to even numbers of male and female students are completing capstone projects in screen production departments and film schools in Australia, crew roles are highly gendered. A gendered skew is most pronounced in the roles of cinematographer and sound designer (male dominated), and producer and production designer (female dominated). We argue that an investigation of this subject calls for an examination of the specificity of the tertiary screen production environment. The crewing of student projects can be fraught, involving competition for popular roles such as that of director, and choices are made based on student likes and dispositions. In this article, we further drill into quantitative and qualitative data from the ASPERA survey to examine educator attitudes and approaches towards the gendered nature of some student production roles.
Publisher: Informa UK Limited
Date: 02-09-2017
Publisher: Informa UK Limited
Date: 12-07-2020
Publisher: Informa UK Limited
Date: 10-2020
Publisher: Intellect
Date: 06-2018
Abstract: Since around 2015, an abundance of cinematic, short narrative virtual reality (VR) projects utilizing an immersive 360-degree format have emerged at film festivals around the world and on online platforms. While this medium is one that is increasingly being adopted by established, traditional 2D filmmakers, the specificity of the form gives rise to a number of challenges for the screenwriter when considering screen grammar, script formats and the writing process. This article begins to address a gap in knowledge in this area by reporting upon approaches to the script formats, development techniques and methods of collaboration utilized by three Australian practitioners working in this format. This research includes a study of the physical expression of a screen idea (recorded on the page or elsewhere) and an exploration of the working conditions within which these ideas are shaped to provide some insight into emerging practices. I draw upon detailed interviews with the three practitioners, and in doing so, I open up a discussion on how their approaches to 360-degree VR differ from traditional forms of screenplay writing.
Publisher: Deakin University
Date: 07-06-2017
DOI: 10.21153/JTLGE2017VOL8NO1ART642
Abstract: Recent research undertaken in Australia and abroad suggests that the development of effective collaboration skills is a significant factor affecting the successful employment of graduate screen practitioners. This article outlines the results of a study that examined student response to the explicit teaching of collaboration skills in an Australian screen production course. The authors report on an empirical research project undertaken in 2015 and 2016 in the Department of Screen Arts at Curtin University, Western Australia. This involved two cohorts of second year screen production students (83 in total), and aimed to foster students’ teamwork skills. The activities and resources shared with students encouraged an interrogation of contemporary models of filmmaking collaboration, the use of group contracts to identify shared values of teamwork and the implementation of activities designed to improve students’ awareness of various collaboration styles. Outcomes were measured by both qualitative and quantitative means through student surveys administered at both the beginning and end of the unit of study. The results of these surveys suggest a change in student attitudes towards collaboration, particularly in regards to the value of communication. The authors aim to disseminate these findings and to encourage further discussion and study in this area. The article builds a case for more attention being placed on the explicit teaching of teamwork and collaboration skills in University screen production courses.
Publisher: Intellect
Date: 03-07-2023
Publisher: Springer International Publishing
Date: 2023
Publisher: Informa UK Limited
Date: 27-03-2015
Publisher: Emerald Publishing Limited
Date: 25-02-2019
Publisher: Ryerson University Library and Archives
Date: 25-05-2022
Abstract: The Future of Houses: Designing for a Circular Economy, is an interactive, educational VR experience born out of a larger project at Curtin University, Western Australia, that seeks to communicate scientific research into ‘Energy Futures’. Produced in a tertiary environment in 2021 by Kath Dooley and collaborators working across disciplines, the project is a single-player VR experience that combines 360-degree video and a computer-generated environment constructed using Unreal Engine. Designed for a user with an interest in ecomedia, The Future of Houses seeks to educate them on the topic of the circular economy (CE), this being a cycle of design and consumption based on the principles of material reuse and recycling. Curtin University researchers have produced significant work in this area through the Curtin University Sustainability Policy Institute (CUSP). One CUSP initiative is the Legacy Living Lab (L3) in Fremantle, Western Australia, a building that was constructed according to CE principles, so as to be easily assembled and dissembled, therefore facilitating recycling and reuse. The Future of Houses harnesses interactive, digital storytelling techniques, resulting in an educative and entertaining VR experience. This begins with a linear 360-degree stereoscopic video component that addresses the viewer in first-person tense, introducing CE concepts and profiling the Legacy Living Lab (L3) as one ex le of a CE building. After watching the video, the user then has the ability to enter a gamified virtual environment where they can explore the features of L3 as an active participant, gaining further information about sustainable features. Working in tandem, the two components seek to take the user on a transformational journey, drawing upon notions of The Hero’s Journey (C bell 1949) and Mezirow’s phases of transformational learning in adult education (2006). The result is a project that creates a personal encounter with a CE building, which might influence the user’s future decision making related to house design and construction. A focus on user experience during the development of the work functioned as a means to unite a multidisciplinary team of sustainability researchers and narrative designers, overcoming different vocabularies and approaches to VR development. The facilitator, a screenwriter and director, moved into the territory of game developer when collaborating with a team of VR programmers on the conceptualisation of a project with multiple interactive elements. Bibliography C bell, Joseph. The Hero with a Thousand Faces. Pantheon Books. 1949. Dooley, Kath (Director/Producer). The Future of Houses: Designing for a Circular Economy. VR experience Curtin University. 2021. Mezirow, Jack. An Overview of Transformative Learning. In Lifelong Learning: Concepts and Contexts. Edited by P. Sutherland & J. Crowther. New York and London: Routledge. 2006.
Publisher: Informa UK Limited
Date: 26-01-2019
Publisher: Informa UK Limited
Date: 02-01-2022
Publisher: Springer Nature Switzerland
Date: 2023
Publisher: Informa UK Limited
Date: 23-04-2014
Publisher: Informa UK Limited
Date: 03-10-2023
Publisher: Intellect
Date: 03-2016
Abstract: This article explores the development of corporeal themes in a screenplay by analysing the initial developmental stages of a feature film tentatively titled Fireflies as case study. In early 2015 I decided that I wanted to write a screenplay about two teenage girls’ experiences of negotiating social media and dating apps such as Tinder. In doing so I hoped to explore notions of intimacy and bodily control. My practicebased screenwriting research in this area is concerned with the way that recording observations of the female form on video and in still images can inform the representation of female agency and sexuality in a screenplay. In particular, I draw upon the approach of Virginia Pitts, who used video recordings from actor workshops to assist in the development of a short film script. This approach is underpinned by the theoretical concept of ‘kinaesthetic empathy’ as a means to form connections between writer, actors and audience. Using a reflexive methodology to mediate the screenplay development process, I respond to scripting workshops that involved two female actors, undertaken to interrogate the themes of the screenplay. These workshops involved the use of mobile phones and video cameras to record footage of bodies, which was reviewed to inform the writing of the first draft script. I examine a range of literature that presents case studies of innovate ways to ‘screen write the body’, before applying various approaches in the early development of Fireflies. Key points include a consideration of character presence and movement rather than psychology as a focus of the film narrative and the use of screens (mobile phone and video) to write for the screen.
Publisher: University of South Australia
Date: 2017
DOI: 10.25954/Q7ZY-8H82
Publisher: Informa UK Limited
Date: 02-09-2014
Publisher: Springer International Publishing
Date: 2021
No related grants have been discovered for Kath Dooley.