Tagged / filmmaking

CQR Seminar: Trevor Hearing & Kip Jones “In Conversation”

Next Wednesday,  1 pm Royal London House 303

‘In Conversation” Trevor Hearing (Media) and Kip Jones (HSS)

“Research as Film/Film as Research”

 

 

 

 

 

 

 

The two will present the research method as a CONVERSATION…first, between each other, and then with the audience.  We are also asking that no PowerPoint be used in order that it is truly a conversation and NOT a lecture. All are welcome!

The series has been very popular so far, playing to a jam packed room. Come and join in the conversation.

Please note that there is a change of room from the regular location. The seminar will take place in RLH 303!

Many of us go to Naked next door for coffee following to continue the conversations and networking.

Come along and join in the conversation!

BFI London Film Festival announces 2016 dates and major new filmmakers bursary

The 60th BFI London Film Festival will run 5-16 October 2016 and is launching a major new initiative to support British filmmakers with an annual £50k bursary award.

As the deadline for this is very tight, this coming Friday 17th June, please get in touch with Eva Papadopoulou email: epapadopoulou@bournemouth.ac.uk so you can complete an expression of interest in relation to the Bursary.

full call available at BFI

“Styles of Good Sense” Ethics, Filmmaking and Scholarship

Crew shooting early scene for the short, research-based film, RUFUS STONE

Crew shooting early scene for the short, research-based film, RUFUS STONE

Kip Jones’ draft Chapter for The Routledge International Handbook on Narrative and Life History was deposited today on BRIAN and Academia.edu. The book’s section on Ethics is edited by Ivor Goodson, with assistance from Ari Antikainen, Molly Andrews and Pat Sikes. Jones’ Chapter entitled, “Styles of Good Sense—Ethics, Filmmaking and Scholarship” is based upon his experience as researcher, author and producer of the award winning short film, RUFUS STONE.

Jones proposes that aesthetics and ethics need to be considered in concert and that they are at the very heart of arts-based research. Ethics and Aesthetics become intertwined and support one another. Jones states:

‘Ethics, much like aesthetics, is often misunderstood as something effusive, illusive and somehow, decision-making by the few on a rarefied echelon, involving pronouncements of grand moral impact and/or sophisticated discrimination. For these kinds of reasons and to avoid potential headaches, it is often assumed that checklists and committees will be far better at making such decisions than mere individuals.’

Jones believes that ethics and aesthetics need to remain the prerogative of the researcher/filmmaker and her/his participants and audiences. By developing a trust in instinct and intuition and the naturally expressive and moral potential of our personal resources, research involving people’s stories can become richer and more human, if we only are willing to jettison some of the baggage of the old academic rigor and dry procedural ethics.

Jones’ involvement in the section of the book on Ethics will include co-contributors Arthur Frank, Norm Denzin, Laurel Richardson and Carolyn Ellis, and will be published in the New Year.