Narrative Comedy Screenwriting: Facilitating Self-Directed, Transformative Learning
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NARRATIVE COMEDY SCREENWRITING: FACILITATING SELF-DIRECTED, TRANSFORMATIVE LEARNING Susan Anne Cake B.A., Dip. Ed., M.A. Principal Supervisor: Dr Phoebe Hart Associate Supervisor: Dr Sean Maher Industry Mentor: Mr John O’Grady Submitted in fulfilment of the requirements for the degree of Doctorate of Creative Industries School of Media, Entertainment and Creative Arts, Film, Screen & Animation Faculty of Creative Industries Queensland University of Technology 2018 Keywords Creative practice, critical reflection, narrative comedy, practice-led research, reflective practice, screenwriting, scriptwriting, transformative learning, self-directed learning Narrative Comedy Screenwriting: facilitating self-directed, transformative learning i Abstract This creative practice-led research examines a journey of self-directed transformative learning through immersion in creative and reflective writing processes. Writing narrative comedy screenplays for a television series titled Fighting Fit, enabled the researcher to examine how critical reflection on screenwriting processes and the sources of inspiration for the screenplays facilitated a perspective shift indicative of transformative learning. Mezirow’s three types of reflection, (content, process and premise or critical) were documented in a reflection journal and triangulated against external feedback from a critical community, industry mentor and professional script reading. Critical feedback used to inform reflections on script development provoked a cycle of inquiry into lived experiences which inspired the screenplays. The screenplays themselves were examined to identify how the essence of lived experiences insinuated itself into the development of characters and themes in Fighting Fit. This allowed concerns about identity and alienation within the workplace to be identified and reframed within a humorous perspective. Critical reflection informed by transformation theory encouraged deeper engagement with sources of inspiration and provided insights for examining influences on creative practice. The research suggests an approach to scriptwriting as professional development which has the capacity to increase creative capabilities and facilitate self-directed, transformative learning. ii Narrative Comedy Screenwriting: facilitating self-directed, transformative learning Table of Contents Keywords .................................................................................................................................. i Abstract .................................................................................................................................... ii Table of Contents .................................................................................................................... iii List of Abbreviations .............................................................................................................. iv Statement of Original Authorship .............................................................................................v Acknowledgements ................................................................................................................. vi Chapter 1: Introduction ...................................................................................... 7 1.1 Background .....................................................................................................................9 1.2 Context ..........................................................................................................................14 1.3 Purposes ........................................................................................................................16 1.4 Significance, Scope and Definitions .............................................................................19 1.5 Thesis Outline ...............................................................................................................21 Chapter 2: Research Design .............................................................................. 24 2.1 Methodology and Research Design ..............................................................................25 2.1.1 Methodology ......................................................................................................25 2.1.2 Research Design .................................................................................................26 2.1.3 Types of Reflection ............................................................................................27 2.2 Research Tools and Participants ...................................................................................30 2.2.1 Critical Reflection – Reflection Journal .............................................................30 2.2.2 Critical Reflection – Writer’s Method and Action Research .............................32 2.2.3 Process Reflection – Critical Community ..........................................................34 2.2.4 Process Reflection – Industry Mentor ................................................................35 2.2.5 Process Reflection – Table Reading ...................................................................36 2.3 Procedure and Timeline ................................................................................................37 2.4 Ethics and Limitations ..................................................................................................38 2.5 Data Analysis ................................................................................................................38 Chapter 3: Contextual Review .......................................................................... 40 3.1 Narrative comedy and humour theory ..........................................................................40 3.1.2 Humour and learning ..........................................................................................44 3.1.3 Screenwriting pedagogy .....................................................................................51 3.2 Screenwriting ................................................................................................................56 3.2.1 Structure, conflict and character .........................................................................59 3.2.2 Awkward realism and cringe-worthy characters ................................................63 3.2.3 Australian examples of contemporary narrative comedy ...................................68 Chapter 4: Creative Work ................................................................................ 75 Chapter 5: Analysis ............................................................................................ 81 5.1 Writing Narrative Comedy as Resistance to Corporate Control ...................................82 5.2 Table Reading: Sharing the Load in Creative Collaboration ........................................90 5.3 Extracting Lessons from the Screenwriting Practice ..................................................106 Chapter 6: Conclusions ................................................................................... 117 Bibliography ........................................................................................................... 123 Appendices .............................................................................................................. 141 Narrative Comedy Screenwriting: facilitating self-directed, transformative learning iii List of Abbreviations DCI: Doctorate of Creative Industries DET: Department of Education and Training LVT: Lead Vocational Teacher TAFE: Technical and Further Education TVET: Technical Vocational Education and Training QUT: Queensland University of Technology QLD: Queensland VET: Vocational Education and Training iv Narrative Comedy Screenwriting: facilitating self-directed, transformative learning Statement of Original Authorship The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made. QUT Verified Signature Signature: Date: January 2018 Narrative Comedy Screenwriting: facilitating self-directed, transformative learning v Acknowledgements When Lewis Carroll’s Alice begins her journey through the looking glass, she unites her imagined self with the self entrenched in the normal world. My own research journey has enabled me to use critical reflection to unite my imagined self as a screenwriter with my professional teaching practice. This journey would not have been possible without the guidance and support of my supervisors, Dr Phoebe Hart and Dr Sean Maher whose feedback brought academic rigor to the development of the exegetical component of this project. My thanks to Associate Professor Geoff Portmann and industry mentor Mr John O’Grady for their advice and provocations which encouraged me in the development of the screenplays. Thanks also to panel members, Dr Donna Hancock, Dr Chris Carter and Dr Ruari Elkington for their feedback which provoked deeper reflection and consequently learning. Special thanks to Colin Schumacher, Lauren Solomon, Grant McLay and Kate O’Sullivan for being such great DCI sounding boards and supporters. Thank you also to Rebecca Wolgast and Liz Hynd for their valuable feedback. Special thanks go to professional screenwriter and screenwriting lecturer, Susan MacGillicuddy, for her excellent