Abstract
In this chapter, I contextualize the various factors that have come together to take me on my journey as a filmmaking researcher. In doing this I investigate the duality that I perceive in myself, the filmmaker on one hand and the academic on another, and how this has impacted my work. This journeying has contributed greatly to my purpose in writing this book, where I aim to offer an accessible example to filmmakers or artist practitioners who are embarking on practice-based research or who are practicing in the academy and looking for a way forward. Central to my research is my passion for experimenting with ways to create images that can elicit memories and storytelling in the viewer. This practice has manifested itself in a range of outcomes. The work has largely been produced utilizing found Super 8 home movies, re-appropriated in different forms, video installation, still framing and experimental remixing.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Bibliography
Barthes, Roland. Camera Lucida: Reflections on Photography. London: Vintage, 2000.
Batty, Craig, and Susan Kerrigan. Screen Production Research: Creative Practice as a Mode of Enquiry. Cham, Switzerland: Palgrave Macmillan, 2018.
Cammaer, Gerda. “Jasper Rigole’s Quixotic Art Experiments with Home Movies and Archival Practices: The International Institute for the Conservation, Archiving, and Distribution of Other People’s Memories (Iicadom).” The Moving Image xii, no. 2 (2012): 41–69.
Charleson, Diane. “Telling Rose’s Stories.” Qualitative Research Journal 6, no. 2 (2006): 3–14. https://doi.org/doi:10.3316/QRJ0602003.
Charleson, Diane. “Video Installation, Memory and Storytelling: The Viewer as Narrator.” Image Narrative 12, no. 2 (2011): 17–30.
Charleson, Diane. Reading Between the Frames: Creating Digital Memories. Memory, Home Movies, Family Photographs, Digital Imaging, 2014.
Charleson, Diane. “Modern Icons: Aura and Memory in Super 8 Still Frames.” Visual Resources 32, no. 1–2 (2016): 169–188. https://doi.org/10.1080/01973762.2016.1130930.
“Digital Remembering.” RMIT, 2008. https://www.intersect.rmit.edu.au/-ps-sr-/digital-remembering. Accessed December 12, 2018.
Kerrigan, Susan. “A ‘Logical’ Explanation of Screen Production as Method-Led Research.” In Screen Production Research: Creative Practice as a Mode of Enquiry, edited by Craig Batty and Susan Kerrigan, 11–27. Cham: Springer International Publishing, 2018.
Mulvey, Laura, and Janet Harbord. Death 24x a Second: Stillness and the Moving Image. Edited by Laura Mulvey and Janet Harbord, 149–169, 2008.
Nichols, Bill, and Michael Renov. Cinema’s Alchemist the Films of PéTer ForgáCs. Minneapolis: University of Minnesota Press, 2011.
“Where to Begin with Derek Jarman.” BFI Film Forever, B.F.I, 2019. https://www.bfi.org.uk/news-opinion/news-bfi/features/where-begin-derek-jarman. Accessed April 2019.
Wilson, Jenny. Artists in the University: Positioning Artistic Research in Higher Education. Singapore: Springer, 2018.
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
Copyright information
© 2019 The Author(s)
About this chapter
Cite this chapter
Charleson, D. (2019). Beginnings. In: Filmmaking as Research. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-24635-8_1
Download citation
DOI: https://doi.org/10.1007/978-3-030-24635-8_1
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-030-24634-1
Online ISBN: 978-3-030-24635-8
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)