The Palgrave Handbook of Screen Production Edited by Craig Batty · Marsha Berry · Kath Dooley Bettina Frankham · Susan Kerrigan The Palgrave Handbook of Screen Production Craig Batty • Marsha Berry Kath Dooley • Bettina Frankham Susan Kerrigan Editors The Palgrave Handbook of Screen Production Editors Craig Batty Marsha Berry University of Technology Sydney RMIT University Sydney, NSW, Australia Melbourne, VIC, Australia Kath Dooley Bettina Frankham Curtin University University of Technology Sydney Bentley, WA, Australia Sydney, NSW, Australia Susan Kerrigan University of Newcastle Callaghan, NSW, Australia ISBN 978-3-030-21743-3 ISBN 978-3-030-21744-0 (eBook) https://doi.org/10.1007/978-3-030-21744-0 © The Editor(s) (if applicable) and The Author(s) 2019 This work is subject to copyright. 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The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland CONTENTS Part I Conceptualising the Screen Work: Ideas, Intentions, Contexts 1 Creative Filmmaking Processes, Procedures and Practices: Embodied and Internalized Filmmaking Agency 3 Susan Kerrigan and Phillip McIntyre Commission, Position and Production: Intent and Intervention in Minority Language Programmes 19 Diane Maclean Having Something to Say and Saying It Well 33 Stephen Sewell and Ben Crisp Understanding the Underlying Principles of the Short Film 49 Michael Sergi and Craig Batty Two Screenplays, One Writer, National Voice 61 Rose Ferrell Off-screen: Reimagining Animation 75 Rose Woodcock, Lienors Torre, and Eiichi Tosaki The Dr Egg Adventures: Incorporating User- Generated Content and User-Testing Strategies in Pre-production Conceptualisation and Development of a Multi-Platform Storyworld 87 Catherine Fargher v vi CONTENTS Taking Place, Screening Place: Studying Locations in Television Drama Production 103 Kim Toft Hansen and Anne Marit Waade Wayfaring, Co-Presence and Mobility: Conceptualising and Re-Conceptualising with Smartphones 117 Jess Kilby and Marsha Berry Part II Developing the Screen Work: Collaboration, Imagination, Distillation 129 Writing Bodies: Developing and Scripting an Embodied Feature Film Screenplay 131 Kath Dooley Putting Theory into Practice: Structuring the Personal Essay Documentary, The Silences 145 Margot Nash Work-in-Progress: The Writing of Shortchanged 157 Margaret McVeigh Developing Baxter and Me: Maintaining Authorial Voice Despite Industry Pressures 169 Gillian Leahy Writers, Producers and Creative Entrepreneurship in Web Series Development 181 Steinar Ellingsen and Stayci Taylor Local Content Producers: Co-Creating Communal Stories and Community in the Big Stories, Small Towns Participatory Documentary Project 193 Martin Potter CONTENTS vii Part III Realising the Screen Work: Practice, Process, Pragmatism 207 Creative Practice: A Love Story 209 Phoebe Hart Creating and Designing the Contemporary Soundtrack: A Case Study 221 Damian Candusso The (Braided) Documentary Voice: Theorising the Complexities of Documentary Making 231 Willemien Sanders and Kate Nash Editing the Observed: Evaluation and Value Creation Processes in the Editing of a Feature Documentary Film 243 Alastair Cole The Beginning of a Beautiful Relationship: A Case Study of an Immersive Filmmaking Process 257 Shreepali Patel, Rob Toulson, and Luis Azuaje “Make it in Post”: Digital Visual Effects and the Temporality of Creative Value in Post-Production 269 Tara Lomax Trapped: A Case Study of International Co-Production 281 Rosamund Davies Production Practices in the Filming of German Scripted Reality Shows 293 Daniel Klug and Axel Schmidt Embracing the TV Commercial: Charms and Challenges of Selling on Screen 305 Ben Crockett and Chrissie Feagins viii CONTENTS Part IV Exhibiting the Screen Work: Places, Spaces, Ecologies 321 Producing the Other in International Film Festivals: Festival Fund, Address and the Making of Authenticity in Gabriel Mascaro’s Neon Bull 323 Humberto Saldanha The Live Cinema Paradox: Continuity and Innovation in Live Film Broadcast, Exhibition and Production 335 Sarah Atkinson and Helen Kennedy Digital Disruption and Innovation in Distribution: Opportunities for Research- Based Filmmaking in the New Global Screen Ecology 347 Sean Maher and Susan Kerrigan Dispositifs at Play: Artist’s Moving Image in the Gallery 363 Ella Barclay and Alex Munt Mobile Reception: Materiality and Locality with Small Screens 375 Bettina Frankham and Chris Caines Appeasing the Trolls: Contextualising New Screen Practices with Smartphones 389 Patrick Kelly and Marsha Berry Part V Teaching the Screen Work: Pedagogies, Practices, Approaches 401 There Is No ‘E’ in ‘Constraints’: Teaching Creativity in Higher Education Screen Production 403 Andrew Taylor “Is this Degree Practical or Theoretical?” Screen and Media Education, Studio-Based Teaching and Signature Pedagogies 415 Brian Morris Teaching Screen Arts in Australia: Challenges, Opportunities and Current Trends 427 Kath Dooley CONTENTS ix VR and Screen Education: An Approach to Assist Student Understanding of Narrative Emphasis, Spatiality and Structural Elements within Narrative VR 443 Megan Heyward Teaching Screenwriting Through Script Development: Looking Beyond the Screenplay 459 Craig Batty and Stayci Taylor Index 473 NOTES ON CONTRIBUTORS Sarah Atkinson is Head of Department of Culture, Media & Creative Industries, King’s College London, and co-editor of Convergence: The International Journal of Research into New Media Technologies. Sarah has pub- lished widely on the impacts of digital technologies on film and cinema audi- ences and film production practices. She has undertaken extensive work into the Live Cinema economy and is currently working on a number of funded immersive media projects (Arts and Humanities Research Council/Engineering and Physical Sciences Research Council, Social Sciences and Humanities Research Council and Innovate UK). Luis Azuaje is Course Leader for the BA in Computer Games Art at Anglia Ruskin University. He teaches several topics related to contemporary digital content creation pipelines and is especially dedicated to research into real-time VFX creation and procedural content creation in VFX, film and video games. He is currently teaching 3D digital sculpting, character rigging and animation and digital compositing. Luis also works as a freelancer for the film, animation and apps industry. He holds an Engineering degree in Computer Science and a degree in Computer Games and Visual Effects, as well as an MA in Film and TV Production. Luis’ research focuses on topics that cover the implementation of procedural content creation in video games that draw on live action film techniques. Ella Barclay is a contemporary artist and academic based in Canberra, Australia. Working across installation, sculpture, electronics and moving image, she explores the terrestrial dimensions of network aesthetics and the impacts of these on information hierarchies. Recent exhibitions include Experimenta Make Sense, International Triennial of Media Art (2017–20), Curious and Curiouser, Bathurst Regional Art Gallery (2018–19), Soft Centre, Casula Powerhouse Arts Centre, Western Sydney (2018), Light Geist, Fremantle Art Centre (2016–17), Bodies Go Wrong, Orgy Park, NY (2016), That Which Cannot Not Be, Vox Populi, Philadelphia (2016), Almost, Instant 42, Taipei, xi xii NOTES ON CONTRIBUTORS I Had to Do It, UTS Art, Sydney (2016). She is a Lecturer in Photomedia at the Australian National University and is currently completing her PhD at the University of Technology Sydney (UTS). Craig Batty is Head of Creative Writing at UTS. He is the author, co-author and editor of ten books, including Writing for the Screen: Creative and Critical Approaches (2nd edn, 2019), Screen Production Research: Creative Practice as a Mode of Enquiry (2018) and Screenwriters and Screenwriting: Putting Practice into Context (2014). He has also published over 50 book chapters and journal articles on the topics of screenwriting practice, screenwriting theory, creative practice research and doctoral supervision. Craig is also a screenwriter and script consultant, with experiences in short film, feature film, television and online drama. Marsha Berry is Associate Professor in the School of Media