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Erschienen in:
Introduction Kapitel lesen Erstes Kapitel lesen

2018 | OriginalPaper | Buchkapitel

3. Lights, Camera, Research: The Specificity of Research in Screen Production

verfasst von : Leo Berkeley

Erschienen in: Screen Production Research

Verlag: Springer International Publishing

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Abstract

This chapter argues that the development of screen production could be enhanced with a stronger alignment between the academic research sector and the film and television industry, where, at present, knowledge transfer from academic researchers to the wider screen practice community is negligible at best. However, for this to improve, approaches to research need to clearly reflect the specifics of the practice, and demonstrate outcomes that resonate with practitioners beyond the academy. Drawing on a body of practice by the author that includes work in both professional and academic contexts, this chapter will explore the question of what, if anything, marks the practice of screen production as a distinct field of academic inquiry. It will also consider whether specific research methods are required to meaningfully capture knowledge about the field.

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Vorheriges Kapitel A ‘Logical’ Explanation of Screen Production as Method-Led Research
Nächstes Kapitel The Primacy of Practice: Establishing the Terms of Reference of Creative Arts and Media Research
Fußnoten
1
Diary excerpts in this chapter are fictional: creative reflections on the author’s practical production experiences over a career as an independent filmmaker.
 
2
Not ‘crossing the line’, also known as the 180° rule, is an approach to filming screen action designed to convey a consistent sense of spatial continuity. It commonly applies to two situations: characters facing each other in dialogue, where observing the rule ensures that it always appears as though the characters are looking at each other when close-ups are intercut; and filming a person or object in movement, where observing the rule ensures that the person or object always appears to be moving in the same direction when different shots are intercut. For a detailed explanation of the rule, see Bordwell and Thompson (2013, pp. 262–264).
 
3
The diary entry for January 10 about ‘Greg the DOP’ is an example of this.
 
4
In the original French, mise en scène (pronounced meez-ahn-sen) means ‘putting into the scene’, and it was first applied to the practice of directing plays. Film scholars, extending the term to film direction, use the term to signify the director’s control over what appears in the film frame. As one would expect, mise en scène includes those aspects of film that overlap with the art of the theatre: setting, lighting, costume and makeup, and staging and performance (Bordwell and Thompson 2013, p. 113).
 
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Metadaten
Titel
Lights, Camera, Research: The Specificity of Research in Screen Production
verfasst von
Leo Berkeley
Copyright-Jahr
2018
Buch
Screen Production Research

Print ISBN: 978-3-319-62836-3

Electronic ISBN: 978-3-319-62837-0

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-3-319-62837-0_3