This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD ... more This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional fi lmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional fi lmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all fi lmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large...
Submitted Thesis
This thesis is a practice-led inquiry into the practice of screenwriting with th... more Submitted Thesis This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
This thesis is a practice-led inquiry into the practice of screenwriting with the intention of co... more This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD ... more This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional fi lmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional fi lmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all fi lmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large...
Submitted Thesis
This thesis is a practice-led inquiry into the practice of screenwriting with th... more Submitted Thesis This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
This thesis is a practice-led inquiry into the practice of screenwriting with the intention of co... more This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
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This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
This thesis is a practice-led inquiry into the practice of screenwriting with the intention of comparing and contrasting the actual process of screenwriting with the methods and rules espoused by both commercial screenwriting manuals and the approach adopted within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.
After establishing the theoretical framework for the approach towards the practice-led research and its relationship to the form and content of the exegesis, I will review the conventions and ideas that inform and govern the approach towards the teaching and training of screenwriters.
This will be followed by an analysis of the process of conceiving and writing an original screenplay, through the interrogation of a detailed development journal that was maintained throughout the development of the screenplay, including those moments where as writer I followed directions and ideas that ultimately had to be discarded. Throughout this section I will identify and share the variety of influences that informed me as a writer, with the intent of providing an exploration of the writer at work, revealing the self as writer, and the writer as researcher.
I will also explore specific aspects of the manualist approach towards screenwriting with particular reference to the ‘hero’s’ journey and to genre. An essential element of the inquiry is an exploration of the status of the screenplay itself, and the status of the screenwriter within the industry and within film theory.
Finally, I will consider firstly how my own practice as a screenwriting tutor has altered as a response to the practice-led inquiry, and in consequence how this might inform the development of a different approach towards the education of screenwriters, particularly within the Academy.