Screenworks

Volume 12.1

ISSN 2514-3123
https://doi.org/10.37186/swrks/12.1


Rolling Volume 12.1

We are delighted to publish the fifth piece in Volume 12:1, The Mechanism, in which Josefine Baark, Christian Laursen and Anne Troldtoft Hjorth seek to unveil the global networks, games and friendships that resulted in a mechanical tableaux made in China in the 1730s and then brought to Denmark. The film serves two purposes: firstly to reveal the historical significance of putting objects centre stage in art historical research, even where written documents are lacking; and secondly, to explore the use of video techniques for generating research outcomes. The Mechanism argues for a reassessment of cinematic materiality and, in correspondence with this, of the research process itself.

Last Night, locked In, by Jonathan Crewe a narrative film made during the Covid-19 lockdowns of 2020 and 2021 as a response to, and reflection on, domestic confinement’s impact on time, memory and identity. Written, directed and performed by the creative researcher himself, the film offers a strong case for the academic value of narrative film. Employing an embedded filmmaking approach using only the equipment, props and actors available on location, the film contributes to the visualisation of the psychological feeling of claustrophobia and loneliness, with a recursive hybrid fiction within the fiction. A narrative built around suspense open to interpretations: is this character truly talking on the phone to someone other than himself? Has there ever been someone else physically in his place, or is that presence also psychological?

Nina F. Grünfeld’s Alexia Alone explores the effect of converting an epic psychological film portrayal meant for the movie theatre/art scene into a formatted reality series for commercial television. Grünfeld examines her relationship with the person she was filming, Alexia, and the process of negotiating with her how her character would be portrayed. Grünfeld applies an ethical lens to this experience and discusses the complexity of her concern as a filmmaker that Alexia was becoming a ‘victim’ for the viewing pleasure of the audience, and how this was in conflict with Alexia’s desire to be on the screen sharing her vulnerability. Grünfeld explores how her relationship with Alexia shifted after filming finished and Alexia was no longer the centre of attention. Alexia’s desire for attention and control over her depiction created tension with the broadcast processes.

Iakovos Panagopoulos’s A Quest for Eternity. A Quest for Eternity (2020) is a fifty-five-minute documentary which explores some very specific elements of Theo Angelopoulos’s form and style. The documentary is divided in four chapters and each chapter focuses on a different part of Angelopoulos’s style. The creation of this documentary is the main methodological tool of this research project, which aims to collect data from semi-structured interviews in order to provide new insights regarding the ways to present alternative historical narratives with the use of cinematic space in Theo Angelopoulos’s work and to create a strong example in the ways that we can use cinematic tools as contemporary filmmakers to present alternative historical narratives through creative practice.

Cormac Donnelly’s video essay  I Am Sitting in a Room, Listening to Mank examines the innovative use of sound recording and mixing in David Fincher’s Mank (2020). Whilst Mank received a limited theatrical release, the film is most widely available via the Netflix streaming platform. The essay takes as a starting point the rerecording and spatialisation of the soundtrack, with a focus on the home viewing experience. Donnelly argues that the re-recording process used on Mank’s soundtrack could potentially suggest a method by which films released into the domestic market could retain the reverberant sonic signature of cinematic exhibition. The published screenwork draws upon interviews with Fincher and his collaborators, as well as the work of experimental composer, Alvin Lucier in order to better understand the experience of listening to Mank in our own rooms.

Screenworks is a rolling publication. Each volume runs from Sept to August. We are now accepting submissions for Volumes 12.1.  To submit work please read our Submissions Guidelines and use our Online Submission Form. If you are interested in submitting your practice and want further advice, then please contact us on [email protected] with “Submissions” in the subject line.


Contents

The Mechanism

Authors: Josefine Baark, Christian Laursen, Anne Troldtoft Hjorth
Format: Narrative Film
Duration: 39′ 12″
Published: July 2022

The Mechanism explores the colonial backstory of a Chinese automaton through a self-reflexive documentation of the research process to unpack its multilayered history…

Read more…

Last Night Locked In

Author: Dr Jonathon Crewe
Format: Narrative Film
Duration: 58′ 19″
Published: April 2022

Last Night Locked In explores narrative fiction and embedded filmmaking as a response to, and a reflection on the existential impact of domestic confinement during the COVID-19 Lockdowns…

Read more…

Alexia Alone
woman in a bra and fluffy pink jacket

Author: Nina F. Grünfeld
Format: TV Series Episode
Duration: 21′ 48″
Published: March 2022

Alexia Alone (2022) is a TV series exploring ethical filmmaking and narrative forms and the relationship between filmmaker and subject…

Read more…

A Quest for Eternity

Author: Iakovos Panagopoulos
Format: Documentary
Duration: 55′
Published: February 2022

A Quest for Eternity (2020) is a fifty-five-minute documentary which explores some very specific elements of Theo Angelopoulos’s form and style…

Read more…

I Am Sitting In A Room Listening to Mank

Author: Cormac Donnelly
Format: Video Essay
Duration: 13′ 45″
Published: October 2021

This video essay examines the innovative use of sound recording and mixing in David Fincher’s Mank (2020)…

Read more…

 


This volume is supported by the Moving Image Research Group and the Digital Cultures Research Centre at the University of the West of England, UWE Bristol.

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About

Peer-Review for Practice Research

Welcome to Screenworks – the peer-reviewed online publication of practice research in film and screen media, edited by Dr Charlotte Crofts (UWE Bristol) and Associate Editors: Will DiGravio (The Video Essay Podcast); Dr. Shweta Ghosh (University of Reading); Dr. Catherine Gough-Brady (JMC Academy, Australia); Dr Matthew Hawkins (London Southbank University); Dr Alexander Nevill (Kingston University and Arts University Bournemouth); Dr Estrella Sendra Fernandez (SOAS, University of London and Winchester School of Art, University of Southampton). Screenworks publishes practice research that produces new knowledge in Communication, Media and Cultural Studies, Art and Design, Performing Arts and related fields. We offer a forum for the dissemination and discussion of practice research that includes space for reflection on research contexts. Work is published alongside a research statement, which offers a ‘route map’ of the research process, together with two anonymous reviews, which provide critical feedback on both the work itself and its research context.

We accept submissions on a rolling basis as well as for Special Issues. Please see the Submissions page for further information about current calls, deadlines, the peer review process and how to submit your work. Please be aware of our Accessibility Policy, which applies to Vol 12 onwards. Go to our Archive to explore previous volumes, including the full supporting research statements and peer reviews for each volume. If you are interested in proposing a Special Issue then please see our Special Issues Policy.

What is unique about Screenworks is that the work is subject to academic peer review, just as an academic journal article would be, thus providing evidence of the impact, significance, originality and rigour of the practice as research. In addition we operate an open single blind review policy, where anonymous peer reviews are published alongside the research statement so that the review process is transparent. Our intention is to create a supportive, yet rigorous research environment for the academic community researching screen media through practice, whilst at the same time engaging with wider audiences. You can read more about Screenworks‘ evolving editorial approach in Crofts and Nevill (2018).

Screenworks was originally convened in 2006 by Professor Jon Dovey, and Associate editor, Dr Charlotte Crofts, and took the form of a DVD that was distributed with the Journal of Media Practice (JMP) by Intellect Books. Volume 1 was published with JMP (8:2) in Autumn 2007, and Volume 2 with JMP (9:3) in December 2008. Extracts of the works in Volumes 1 & 2 were published online, where possible, when the website was relaunched under the banner of JMPScreenworks.com at the JMP Symposium 2011.

Screenworks migrated to the present website in 2016. We now publish exclusively online in order to disseminate work more widely, save costs and to fulfil the current AHRC and REF research agendas of open access, impact and public engagement. We hope that this new home will enable Screenworks to continue to flourish and grow as both an online publisher of academic film and as a forum for championing screen media practice research with in the academy.

References

Charlotte Crofts & Alexander Nevill (2018) Publishing screen media practice research: evolving processes of contextualisation, peer review and future proofing in Screenworks, Media Practice and Education, 19:3, 283-297, DOI: 10.1080/25741136.2018.1529478.

Academic Reviewers

John Adams University of Bristol
Laura Ager University of Salford
Judith Aston University of the West of England
Sarah Atkinson King’s College London
Sarah Barrow University of Lincoln
Des Bell Queens Belfast
Paola Bilbrough Victoria University in Melbourne
Kornelia Boczkowska Adam Mickiewicz University in Poznam
Elena Boschi Edge Hill University
Mick Broderick Murdoch University
Christopher Brown University of Sussex
Jeremy Bubb University of Roehampton, London
Inga Burrows University of Glamorgan
Joanna Callaghan University of Sussex
Neil Carrier University of Bristol
David Chapman University of East London
Mark Chapman Northumbria University
Steve Choe San Francisco State University
Alastair Cole Newcastle University
Nick Cope University Of Sunderland
Patrick Crogan University of the West of England
Jill Daniels University of East London
Katie Davies University of West England
Andrew Dewdney London South Bank University
Karel Doing University of the Arts London
Jonathan Dovey University of the West of England
Tony Dowmunt Goldsmiths College
Ludovica Fales University of West London
Bettina Frankham University of Technology Sydney
Annie Goldson University of Auckland
Amy Hardie University of Edinburgh
Wendy Haslem University of Melbourne
Matthew Hawkins London South Bank University
Jimmy Hay Bristol University
Robert Herrema Michigan State University
Coral Houtman University of South Wales
Dina Iordanova University of St. Andrews
Andrew James Plymouth College of Art
Itandehui Jansen University of Edinburgh
Owain Jones Bath Spa University
Aaron Kerner University of Edinburgh
Lina Khatib Royal Holloway University
Erik Knudsen University of Salford
Adam Laity University of the West of England
Nicholas Lambert Ravensbourne
Rik Lander University of the West of England
Gillian Leahy University of Technology Sydney
Lucy Leake Plymouth College of Art
Alisa Lebow Brunel University
Dominic Lees University for the Creative Arts
Claire Levy Bath Spa University
Sasha Litvintseva Goldsmiths
Ramon Lobata RMIT University
Matthew Lovett University of Gloucestershire
Nariman Massoumi Bristol University
Kenta McGrath Curtin University
Cahal Mclaughlin Queens University, Belfast
Joshua McNamara University of Melbourne
Smriti Mehra Srishti School of Art, Design and Technology
Chris Meigh-Andrews University of Central Lancashire
Katherine Morrissey San Francisco State University
Heidi Morstang University of Plymouth
Steven Paige Plymouth College of Art
Iakovos Panagopoulos Ionian University
Kayla Parker
University of Plymouth
Gail Pearce Royal Holloway University
Angela Piccini Bournemouth University
Matti Pohjonen VOX-Pol Network of Excellence
Steve Presence University of the West of England
Khazim Rahman Plymouth College of Art
Elizabeth Ramirez-Soto San Francisco State University
Michael Renov University of Southern California
Randy Rustky San Francisco State University
Claudia Sandberg University of Melbourne
Jeff Scheible Kings College London
John Sealey Fabian’s Film
Dafydd Sills-Jones Auckland University of Technology
Jen Stein University of the West of England
Suzanne Stich University of Ulster
Sue Sudbury University of Bournemouth
Patrick Tarrant London South Bank University
Joram Ten Brink University of Westminster
Lizzie Thynne University of Sussex
Romana Turina Curtin University
Sarah Turner University of Kent
Michael  Uwemedimo Roehampton University
Frank Verano University of Sussex
Mike Wayne Brunel University
Anna Zaluczkowska Leeds Beckett University
Esther Pérez Nieto Complutense University of Madrid
Joanna Zylinska Goldsmiths


We are very keen to expand our pool of academic reviewers, particularly in terms of international scope, so if you would be interested in getting involved then please email with “Screenworks Reviewer” in the subject line, outlining your area of interest / expertise and your institutional affiliation.

Supported by the Moving Image Research Group and the Digital Cultures Research Centre at the University of the West of England, UWE Bristol.

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Submissions

Call for Submissions

We invite submissions of moving image work on film, video and new media platforms. We feel strongly that the function of Screenworks is to provide an opportunity for practice research to undergo the equivalent rigorous peer-review process to that of traditional publication, and fully understand contributors’ need to evidence the impact and significance of their practice as research. Where submissions are documentation of interactive or installation work we encourage producers to consider the problems of documentation as part of the research process. We welcome work from doctoral students and post-doctoral researchers, as well as those at the cutting edge of practice research both nationally and internationally.

Guidelines for Contributors

Please submit via the online submission form linked above and read the following guidelines:

Practice Component

Videos or video documentation of other practice must be uploaded to Vimeo, even if it is available online elsewhere. If you do not already have an account, you will need to join in order to upload your work. Please see the Vimeo Compression page for guidance on optimising your upload. You can then include the URL and, if necessary, the password for the video in our online submission form. Only if and when your work is accepted for publication will we make it available on the Screenworks website.

Please note that should your work be accepted for publication you will need to update the Vimeo privacy settings to allow us to embed it on our website. Contributors take full responsibility for ensuring that their submissions adhere to UK copyright guidelines.

If your work is web-based, then simply supply the URL for review purposes. If your work takes any other form (e.g. an app, screen-based art installation or performance) or you have a problem with uploading it to Vimeo, then please contact us to arrange an alternative review method. We are keen to showcase as many pieces of high quality practice research as we can. Where submissions are documentation of interactive or installation work we encourage contributors to consider the problems of documentation as part of the research process.

From Vol 12 onwards, once the peer review process is completed, the audio-visual work will need to be captioned by the author prior to publication. We ask that authors also provide a descriptive transcript of the final video. Please note that captions are not required for the submission of the work for peer review, unless a reviewer requests captions so that they can access the work. Please see our Accessibility Policy for more information.

Supporting Research Statement

Statements of up to 2000 words should outline Research Questions, Context, Methods, Outcomes and Impact – although we also welcome the development of alternative ways of writing about practice which can identify new knowledge, research contexts and rigour – as long as they clearly identify the research in your submission. Please refer to our style guide before submitting.

There are many different kinds of screen media practice research. Our aim is to generate “new knowledge” in Communication, Media and Cultural Studies, Art and Design, Performing Arts and related fields. The purpose of the statement is not to “explain” the screenwork, but rather to offer a “route map” of the research process, as well as a means to provide evidence for the dissemination and wider impact of the practice.

Peer Review Process

All work submitted to Screenworks undergoes rigorous peer review, based on initial editor screening and refereeing by at least two anonymous referees. Both the statement and practical work are subject to open but anonymous peer review selected from our growing list of academic reviewers representing scholar practitioners working across the field of screen media both in the UK and internationally. Reviewers will have the choice of recommending publication of both work and research statement, acceptance of work with minor rewrites of statement required, invitation to resubmit both in reworked form or of rejecting.

In the case of successful submissions, the reviews are published online alongside the practical work and supporting research statement. The aim is that, through this process, criteria for research will be generated by the community over a period of time – that we will use a dialogic model of criteria generation and research. The process of open reviewing is intended to promote an active, concrete dialogue within the community of screen media scholar practitioners as to how our research is constituted, defined and disseminated.

Submission Deadlines

Screenworks is published on a rolling basis. This means that in the spirit of reactive online publishing we will review and publish work as it is comes in, rather than waiting for a full volume before publication.

In addition to the rolling volume, we also publish themed Special Issues. Please see our current call for practice for our special issue on Musicology on Screen, edited by Estrella Sendra, and Guest Editors: Barley Norton and Joe Jackson. Deadline: 1 February 2022 for publication in July 2022.

Our first Special Issue, Volume 7.3, was on Aesthetics/Politics/Activism/Art: What is Radical Filmmaking? Our second Special Issue, Volume 8.2, was on the theme of Digital Ecologies and the Anthropocene edited by Alex Nevill in partnership with guest editors Charlie Tweed (Bath Spa University) and Joshua McNamara (University of Melbourne). Our third Special Issue Volume 10.2 is on the theme of Practice Pedagogies, edited by Lucy Leakein collaboration with the Journal of Media Practice and Education. If you are interested in collaborating on a Special Issue then please see our Special Issues Policy.

 

 

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