Abstract
A general introduction to the book, outlining the ethnomediaological approach to the StoryLab International Film Development Research Network workshops that provide much of the case study examples cited. The introduction also outlines the content of chapters and contextualises these chapters within an increasingly democratised independent film industry sector driven by technological change.
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Notes
- 1.
- 2.
See Post (2005).
- 3.
See Adams (2014).
- 4.
- 5.
See storylabnetwork.com (Accessed 23 February 2018).
- 6.
See, for example, Modern Man in Search of a Soul (Jung 1961).
- 7.
Interestingly, the French word entertainment—divertissement—emphasises the distractive nature of filmed entertainment.
- 8.
See, for example, the BBC’s mission statement: “To enrich people’s lives with programmes and services that inform, educate and entertain” (http://www.bbc.co.uk/aboutthebbc/insidethebbc/whoweare/mission_and_values, Accessed 23 February 2018).
- 9.
Perhaps it is no coincidence that the age of cinema is inextricably linked to the age of postmodernism, with its preoccupation with relativism and the defining of truth through power relationships. Michel Foucault was one of the leading exponents of the postmodernist idea. See Foucault (1991).
- 10.
See The Gutenberg Revolution (Man 2009).
- 11.
Contemporary facsimiles of Luther’s original pamphlets are available, such as “Self-Will” and “How Lucifer and Adam Fell” (Luther 2006).
- 12.
See the revolutionary book On the Revolutions of Heavenly Spheres (Copernicus 1995).
- 13.
Counting just formally published books, some 200,330 titles were published in the UK during 2014. (https://www.publishers.org.uk/resources/uk-market/ accessed 22 February 2018.)
- 14.
This abundance of digital technologies does bring with it new challenges, which I discuss in my journal article “Cinema of Poverty: independence and simplicity in an age of abundance and complexity” (Knudsen 2010).
- 15.
See, for example, Chris Anderson’s analyses of these new players and their mode of operation in The Long Tail (Anderson 2007).
- 16.
This is not to speak of a wide variety of ways in which film is used. From personal poetic expressions to cultural interventions coming out of participatory filmmaking, the medium is now capable of being used by ordinary citizens whether they are interested in being part of a professional industry or not.
- 17.
https://www.unicef.org/infobycountry/ghana_statistics.html (Accessed 23 February 2018).
- 18.
For a comprehensive exploration of European art, see The Story of Art (Gombrich 2007).
- 19.
- 20.
Later, we shall be referring to the work of Hogan (2003).
- 21.
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Knudsen, E. (2018). Introduction. In: Finding the Personal Voice in Filmmaking. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-030-00377-7_1
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