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THE DOCUMENTARY IMAGINATION an Investigation by Video Practice Into the Performative Application of Documentary Film in Scholarship

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THE DOCUMENTARY IMAGINATION an Investigation by Video Practice Into the Performative Application of Documentary Film in Scholarship THE DOCUMENTARY IMAGINATION An investigation by video practice into the performative application of documentary film in scholarship Trevor William Hearing A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy May 2015 Bournemouth University This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. II ABSTRACT THE DOCUMENTARY IMAGINATION An investigation by video practice into the performative application of documentary film in scholarship The aim of the research has been to discover new ways in which documentary film might be developed as a performative academic research tool. In reviewing the literature I have acknowledged the well-established use of observational documentary film making in ethnography and visual anthropology underpinned by a positivist epistemology, but I suggest there are forms of reportage in literary and dramatic traditions as well as film that are more relevant to the possibility of an auto-ethnographic approach which applies documentary film in an evocative context. I have examined the newly emerging field of Performative Social Science and the "new subjectivity" evident in documentary film to investigate emerging opportunities to research and disseminate scholarly knowledge employing reflective documentary film methods in place of, or alongside, text. This inquiry has prompted me to consider the history of the creation and transmission of scholarship. The research methodology I have employed has been auto- ethnographic reflective film practice. Specifically, I have drawn on images from my previous documentary films and woven them together into a research film to explore the possibility of provocative, evocative filmmaking as a “creative academic research tool”, whilst noting the value of a relevant skill-set to deliver a quality threshold in applying such a method. In this particular instance of filmic scholarship, I have questioned the notion of the ‘B’ roll to illustrate and interrogate the performative application of auto- ethnographic film production. I became interested in the idea of the performative artefact as an expression of investigation when I spent a year documenting the construction of Sir Antony Gormley’s landmark sculptures Another Place and The Angel of the North. Gormley’s statement in the film that sculpture might be thought of as “a witness to life”, has informed my own practice as a filmmaker and informs the film that has become the data for this thesis. The following year when I made a film about a fishing community, Village By The Sea, I began to develop the idea that film or video artefacts might also be viewed like sculpture, as “an inert, benign object that stands somewhat outside time, somewhat outside the span of human life, but that acts as a witness to it” (Gormley, 1998). I have incorporated what Gormley terms this “impulse” into my research by creating a hybrid ‘para-documentary’ using ‘B’ roll footage: an experiment in a performative method that I am reporting on here, and an experiment which obliges the filmmaker to engage with the ethical questions which arise when grappling with the imaginative and the documented. The outcome of the research is III described as the discovery of the research experience that while I have been walking around in the world, that world has been walking about in me. Three implications are identified from this outcome. Firstly, that the concept of the Creative Academic Research Tool might be a useful systematic matrix with which to frame the specific traces of a practice-based research and from which to draw more generic outcomes. Secondly, counter-intuitively to the conventions of other media documentary forms that prioritize character and dialogue, the application of the wider angle of the ‘B’ roll filmic technique might offer a particularly powerful evocative tool in Performative Social Science. Thirdly, the documentary sensibility identified in this research, when placed performatively in the hands of the audience, might place the imagination at the heart of the scholarly documentary project. IV Table of Contents Page Statement of original authorship II Abstract III Table of Contents V List of Accompanying Material VII Preface VIII Acknowledgement XVI Chapter I: Introduction 1 A. Background to the research 2 1. Scholarly Argument: Ingraham’s call to action 2 2. Performative Social Science: re-thinking scholarly argument 5 3. The Research Gap 6 B. The Research Problem 9 1. The Aim of the Research 9 2. The Research Problem and Sub-Questions 10 C. Justification For The Research 11 1. Disruption to Pedagogy 11 2. Disruption to Technology 12 3. Disruption to Methodology 13 D. Methodology 14 E. Outline of the Report 15 F. Definition of Terms 15 G Conclusion 20 V Chapter II: Literature Review 21 A. Introduction to the Literature Review 21 B. The Historical Context of Scholarly Discourse 24 C. Ong’s Typology of Orality and Literacy 26 D. The Uncommon Discourse 38 1. Language as Local Practice 40 2. Critical Thinking 41 3. The Bartholomae/Elbow Debate 43 4. Bourdieu: Scholarship and Power 48 E. Rorty: a philosophy of irony 52 F. Beyond Specialisation 53 G. The Transgressive Screen 55 H. Literary Journalism: Art’s Status as Document 60 I. Documentary Film: The Performative Space of the ‘B’ Roll 66 Chapter III: Methodology 73 A. Introduction to Methodology 73 B. Performative Methodology 74 C. Narrative Research Methods 80 1. The filmmaker’s narrative journey 83 2. The researcher’s narrative journey 83 3. Interview as narrative journey 84 4. The audience’s narrative journey 86 D. Our Storied Selves 87 E. Auto-ethnography 89 F. Practice-as-Research method 92 G. Embodied Research 97 H. The Synthesis of Methodology and Method: The Creative Academic Research Tool (CART) 100 I. The Ethical Application of Documentary Film Making in Performative Scholarship 103 J. Conclusion to the Methodology 108 VI Chapter IV: Research by Practice: Ships That Pass In The Night (DVD) Chapter V: Conclusion 110 A. Introduction 110 B. Conclusion About Research Question 1: How might knowledge be constructed performatively in documentary film? 112 C. Conclusion About Research Question 2: How might documentary film be employed as a Performative Social Science research tool? 113 D. Conclusion About the Research Problem 117 E. Implications for Theory and Practice 118 F. Limitations of the Research 120 G. Implications for Future Research and the Development of the Thesis 120 References 123 LIST OF ACCOMPANYING MATERIAL Incorporated with this text-based document is the audio-visual element submitted on DVD as Chapter 4. It is suggested that readers of the thesis view the DVD after reading chapters I- III. The DVD contains the research film “Ships That Pass In The Night”. VII PREFACE ~ Letting Daylight In Upon Magic ~ On Art 6 The hand that uses a pen must be stronger Than ten Hannibal elephants You must help to haul the baggage cart Through the pass Then you can sit in the grass at the top And eat with the rest No one eats unless the cart is hauled Through the pass After your meal write Art is not magic Edward Bond (1978) Art, magic, imagination and the scientific method of the academy are embedded in the core of this thesis. In adopting the phrase of the Romantic poet John Keats as the title of his book, Unweaving The Rainbow, the scientist Richard Dawkins (1998) teases out the relationship between art and science by critiquing Keats’ assertion that Newton “has destroyed all the poetry of the rainbow, by reducing it to the prismatic colours” (Keats cited Dawkins, 1998, p.39). Similarly, the art critic Mark Lawson borrows the nineteenth century essayist Walter Bagehot’s phrase about the English Constitution (Bagehot 2001) to make the point that there is a risk in "letting daylight in upon magic" (Lawson 2006). In writing about artists speaking about their work, Lawson notes: “The case for silence is easy to make. Good art is ambiguous but good journalism has clarity, and these ambitions inevitably clash in the published preview. The playwright Michael Frayn complained (in a pre-publication interview) that "you don't spend two years writing a play and then sum it up impromptu over lunch"”. (Lawson, 2006) VIII The common theme is that whilst the artist must shroud the truth of their message in silence and ambiguity, or risk losing the very thing that makes the art work, by contrast the journalist must report clearly, and the scientist must catalogue and explain. Indeed for Dawkins, and for many scientists, the ‘wonder’ is not destroyed but magnified by removing the mystery and explaining the how and the why. In contradiction to this, in recent years there has been a growing body of work that has promoted the use of creative or ‘performative’ practice as a research method across a number of fields in academic research. Therefore, the question arises as to how the researcher might both use the ‘magic’ of artistic methods and let daylight in upon knowledge. This forms the problem presented in this thesis, a question that has been tested and embodied by my own practice as a documentary filmmaker and reported on here and, because the research is embodied in the researcher, I must tell you how I came to be here, seeking the answer to this question, even if it is not over lunch. When the digital archaeologists of the future are pouring over the archaically-labelled “Regional Variations” in the pages of the TV Times from the 1970s, 80s, and even 90s, they will uncover clues to a hidden and neglected culture that will send them scurrying to the vaults of the long-forgotten television formats of 16mm.
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