"Action": Publishing Research Results in Film (original) (raw)
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Action": Publishing Research Results in Film
Forum Qualitative Sozialforschung
Researchers commonly disseminate their research findings in academic papers or books that have a selected and limited target audience. A potential method for disseminating the information other than the traditional academic is through film, but this means tailoring the material to this medium and in many cases collaborating with people who have the necessary skills. The aim of this article is to reflect on the experience of making a film from the researcher's perspective. I will in particular shed light on how the filmmaking team worked together and provide examples of the preceding research, as well as the shooting and editing of the film material. The long period of research leading up to the film was a major factor in its success. In addition, all of the people involved have to be willing to share their experiences, recognize each other's expertise and be able to compromise. The film was much more than just an extension of the ongoing multi-site qualitative research. The ...
FILM AS A METHOD OF SCIENTIFIC RESEARCH: A LABORATORY FOR POST-MODERN PRACTICES
STUDIA UBB. PHILOSOPHIA, 2020
This article posits that cinematic language should be reconsidered and validated as a means of research in the scientific world. It should no longer be seen as simply a disseminator of information, but also as a means of investigating reality. The new trends in cinema, specifically fiction-documentaries use various methods to investigate reality. These methods could be useful in a broader sense, namely in cross-disciplinary scientific research. The postmodern approach to the notion of complexity or narrative knowledge creates a favorable framework for a paradigm shift concerning the analytical and quantifying method of scientific research. Cinema as a medium can be used as a tool and an invisible technology capable of shaping our ideas.
Film and Video in Qualitative Research
The twentieth century was the century of film; the twenty first will be the century of digital video. The twentieth saw major innovations in recording and filmmaking, many applicable to enthnography. But owing to characteristics of the technology itself, visual approaches never became a prominent feature of the qualitative research arsenal. A methodology may be viewed as the application of a technology to some feature of the world, producing the traces that serve as a basis for analysis. Current video technology offers a spectacular methodological promise, making it first choice for ethnographers of the future.
Filmmakers' research perspectives: an overview of Australian and UK filmmaking research
2016
Filmmaking research is part of the broader practice research paradigm – known as practice-led, practice-based and creative practice research – where films are created as research outputs in fiction, documentary and hybrid forms. Filmmaking researchers’ enquiries into production practices, techniques, modes and genres used in cinema, television and online have been successfully conducted using filmmaking as a primary research method. This paper sets out to explore the approaches used in filmmaking research that have been adopted in Australia and the UK, to identify the similarities and differences between the two research environments by looking at nine sample research projects. The sample projects illustrate the diversity of films as research outputs, where some are made as a means of exploring theoretical perspectives, like “The Brisbane Line” (Maher 2011) and “Love in the Post” (Callaghan 2014). Others were created as part of larger interdisciplinary research projects, for example...
Qualitative Research, 2023
The article shows how film can disrupt human-centred discourses about the use of video technology in qualitative research. Inspired in particular by Deleuze's film philosophy, a detailed analysis of an "ordinary" event in an early-childhood institution gestures at some of the possibilities that the manipulation of technology can offer. Filmmaking practices, such as framing, tracking, speed changes, reverse motion and use of sound, shape what counts as "data" and offer alternative modes of analysis that include more-than-human bodies. These playful techniques draw attention to how video technology can play a democratising role in qualitative research by paying more attention to the digital, the sensory and the visual and relying less on language as the mode of enquiry. Grounded in post-qualitative approaches of performativity, we indicate the radical implications of the ontological and epistemological paradigmatic shift in agency and causality when disrupting anthropocentrism in qualitative research.
Filming, Researching, Annotating
2021
We felt-and still feel-that this is an important issue, as certain forms of knowledge and knowledge generation appear to be disadvantaged in the current text-based system for publications. To get a direct impression of the tool and how it works, please visit our website: For more than 100 years film and video have been a crucial part of research in various fields like ethnography, sport science, and behavioral sciences, and now increasingly in the field of artistic and design research. With the rise of digitalization and video platforms, they start to unfold their potential as ways to generate new knowledge, share results, and challenge traditional, text-based forms of publication. Videos are present in every step of research, from video abstracts to data collection, data analysis, interpretation, publication, and the presentation of research. How will this scenario change the way we generate new knowledge? Can a video (or an annotated video) be the sole output of an academic investigation? How will it change the way we share and challenge new knowledge with other researchers and with the public? How can we build up trustworthiness within video-based research and how can we validate it? Research in fields such as art and design might be at the beginning of a long-term transformation from text-based to enhanced, multimedia practices of publication. The interplay of audiovisual material and language/text has already generated new formats such as video essays or annotated videos and will presumably lead to more formats that will reshape our thinking. Among others they will enable new forms of looking and reflecting on performative practices like theater, dance, and performance art, fostering particular modes of understanding tacit, embodied, and performative knowledges that may help research ers arrive at fresh insights. This calls for new ways of publishing that remix video and text, possibly altering hierarchies, turning video into the primary media and text into the secondary. Our intention was not only to develop a digital tool, but also to describe the entire research process under the premise that at the end an annotated video would be published. We hypothe-Research Video This model displays the research process as a sequence of transformed data (→ fig. 01). The original event (e.g. a performance) is transformed into a document (e.g., a video), which is transformed into a corpus of enriched data. Through analysis this big corpus is transformed into a selected corpus of reduced data, which then is the basis for the last transformation into a format of publication. Looking at the research process this way allowed us to be agnostic as to specific traditions of research: no matter what kind of data the research is dealing with, the underlying process stays the same. It also allowed us to trace back the impact of the anticipated output on every step of the transformation process. There are (at least) four transformations to be made (T1, T2, T3, T4) and we identified the according practices (→ fig. 02). We later added a fifth practice as it proved to be important in the use cases. Getting access to the field can be a crucial first step of research and requires a lot of sensibility and time. This book will roughly follow this sequence of practices in the model. Chapter 3 addresses with field access, Chapter 4 describes basic practices of video capture, and Chapter 5 covers important aspects of video editing. In Chapter 6 we present and discuss the practices of analyzing and reducing data and finally in Chapters 7, 8, and 9 we take a look at practices that lead to publication. In each of these chapters, we describe our solutions as found in applying the Research Video tool in the use cases. From Reader to Viewer? How will a person consume a Research Video? Of course, they will not be in the traditional role of a reader. On the other hand, they will not simply play the video as in a film performance. In fact the misunderstanding we most often encountered with the Research Video is the idea that the additional written information would display synchronously with the video, similar to subtitles. However, the amount of information necessary for scientific depth makes this impossible in principle, in our opinion. Reading or viewing the Research Video must therefore be thought of as a constant alternation between watching the video and reading the annotations.
Films as object of studies for research in Applied Social Sciences
The use of films as a source of research data occurs in different areas. Although used in the academy in different areas than cinematography-such as studies in Applied Social Sciences (ASS)-there is no consensus on a model for film analysis when used as a source of scientific research data. This study seeks to contribute to the solution of this gap by proposing a model for analyzing films in scientific research in ASS. Films represent not only feature films, but also productions such as advertising campaigns and institutional videos. The model includes antecedents to the contact with the film, the contact itself, elaborated messages and eventual generated consequential effects, using the semiotics and French discourse analysis to contribute with the due considerations. This construction is expected to provide a basis for standardizing film analysis when used as a data source for future ASS research, allowing a procedure for validation of results.
Event Report - Academic Filmmaking: Modalities, Experiment and Decolonisation
This one-day conference, held on Zoom, provided a forum for both established and emerging practice researchers to showcase their work and discuss new developments in academic filmmaking. In this event, we sought to extend the stimulating, often challenging, discussions about research practice through the BAFTSS's Practice Research SIG as well as the Centre for World Cinemas and Digital Cultures at the University of Leeds, where academic filmmaking is becoming a common, even preferred, mode of research. As the title of the conference suggests, our discussions centred on three topics, the fils rouge that guided the day's presentations and discussions. First, modalities: the exigencies of being an academic (and?or?) filmmaker, the evolution of academic filmmaking in the last decade, and future developments in the practice. The theme of experiment and, more broadly, form, was also paramount; the films showcased ranged from documentaries to deformative video-essays to animations. Decolonisation as an imperative mode of practice was also a key thread running through the conference, picked up explicitly through presentations on indigenous performance, pedagogy and women filmmakers, but also as an idea that guided many of the papers, the Q&A discussions and the closing roundtable.
Focus: Research Film, Introduction: Reusing Research Film and the Institute for Scientific Film
Isis, 2021
This introduction outlines the threefold contribution that this Focus section on research film offers. First, it introduces the vast collection of films from the former Institute for Scientific Film (Institut für den Wissenschaftlichen Film [IWF]), arguably the most ambitious endeavor ever undertaken to manage the distribution, production, and archiving of research films. At the same time, the institute's questionable roots in the National Socialist education system and in war research are addressed. Second, the introduction points out that the Focus section enters largely uncharted terrain in the history of research films. Third, it argues that a focus on the multiple reuses of research films, as this section attempts, not only suits the medium specificity of film but helps us to map the aesthetic, intermedial, and cultural-political practices of disseminating knowledge. In this vein, the organizers asked established scholars working on film and science to share with us a short story of a reused research film. Scott Curtis, Vinzenz Hediger, Anja Laukötter, and Hanna Rose Shell responded. Their contributions can be found in the supplementary materials to the online edition.