Firstly, there are those who use the research environment to better understand their practice, and explicate what they know tacitly about the work they create. From our combined experiences of undertaking, supervising and examining PhDs, the conditions of creative practice research often fall into two categories. Although some might argue that this should not be the outcome of creative practice research – that the critical work describes the research found within the creative work, and therefore the creative work is the research – this is not always the case.
Note that with this distinction regarding where new knowledge is located, we seem to be suggesting that it can be in the reflection and not necessarily in the screenplay. Where a screenplay embodies or "performs" research (see Haseman 2006), research and knowledge may be implicit, and so what becomes a significant issue for the academy is how that knowledge can be explicated for a wider community of scholars and/or practitioners (see Gibson 2010). Reflective practice enables research to become explicit and communicable to an audience outside of the practitioner’s own domain (i.e. Smith and Dean 2009), screenwriting becomes a way of generating and disseminating new knowledge and, crucially, a way of generating new ways of practising, usually evidenced by reflections on the process of writing the screenplay and/or by the screenplay itself. Nelson 2013) or research-led practice (e.g. This is to say, that the act of writing a screenplay is increasingly valued as a form of research, one in which the screenplay functions as both a method of research enquiry and also a research artefact.
(2015), screenwriting is an emerging research practice within the academy. Keywords: screenwriting, screenplay, creative practice research, research degree supervision, romantic comedy, transnational cinemaĪs noted by Baker et al.
Screenplay writer definition professional#
Furthermore, with its collaborative and reflective voice of candidate and supervisor, it also contributes to ongoing debates about the purpose and nature of research degree supervision in the creative and professional arts. It also contributes to the wider disciplines of creative writing and screen production through its considerations of how research incubation influences and changes the work of a practitioner. In this PhD, the candidate is writing a romantic comedy screenplay that is in dialogue with notions of transnational cinema and orientalist representations, and is exploring his own sense of self with regard to authorship and creative practice.īy providing a commentary on this emerging site of knowledge production, the article contributes to the increasing scholarship on screenwriting as a research practice and the "academic screenplay". We do this by discussing an approach to a PhD currently being undertaken in an international context: it is registered and primarily supervised in the UK the candidate is conducting research in Japan and it is remotely supervised in Australia.
In this article we explore the implications of writing a screenplay as part of a creative practice research degree, from the perspective both of a candidate and a supervisor. The resulting "academic screenplay" or associated screenplay work functions as both a method of research enquiry and also a research artefact, valuing screenwriting as a way to generate and disseminate new knowledge and – crucially – new ways of practising. Screenwriting is an emerging research practice within the academy, whereby the act of writing a screenplay is understood as a form of research.
0 kommentar(er)
