Addresses the very notion of what creative practice research is, its challenges within the academy and the ways in which it contributes to scholarship and knowledge.

Addresses the very notion of what creative practice research is, its challenges within the academy and the ways in which it contributes to scholarship and knowledge

The first study to explore deeply and intimately the complex and multifaceted nature of creative writing practice, The Scholarship of Creative Writing and Practice offers a new route in scholarly inquiry for creative writing studies, probing beyond pedagogical methods (with which most of the field's scholarship is occupied) to explore the writing life as it is experienced by a wealth of international writer/academics. With academic creative writing programs beginning to adopt a more pragmatic, industry-focused stance, students of writing increasingly need and expect to complete their degrees moderately prepared to monetize the skills they have learned – so there is now more than ever a great responsibility to present studies, methodologies and experience that can inform students and instructors. In response, Sam Meekings and Marshall Moore have pulled together academic investigations from some of the most prominent names in creative writing studies to take stock of the diverse definitions and pluralities of creative practice, to examine how they have carved out a 'writing life', what work habits they have adopted to achieve this, how these practitioners work as creatives both within and outside of the academy and to put forward strategies for a viable writing life. Offering intelligent, philosophical, pragmatic and actionable methods for robust writing practice, this book provides a multi-national perspective on the various aspects of practice and process. Essays explore what writing practice means for individuals and how this can be modeled for students; how the mythic nature of creativity can be channeled though practical working habits; practice through the lenses of social responsibility, sensitivity, empathy and imagination; writing during times of duress and the barriers writers encounter in their craft; the demand of author platforms; the role of the creative writing academic/writer; and the process of learning from published and practicing authors. Wide-ranging in its investigations and generous in insight, The Scholarship of Creative Writing and Practice presents creative, imaginative and transdisciplinary approaches to this under-researched area.

The Impact of a PhD on Design Practice assesses the value and impact of design PhDs for design practitioners, exploring in detail and through perspectives from a range of international designers how a doctorate can develop research and critical thinking skills that will enhance their professional practice. The book develops the contribution of Laurene Vaughan's earlier work Practice-Based Design Research in furthering the global understanding of this dynamic and expanding area of design education. Whereas the earlier work provided a survey of key issues and developments in doctoral education in design globally, this book delves deeper by focusing on the experience of those who have undertaken design PhDs and taken their expertise into industry settings. Designers from Europe, the USA and Australasia working in a range of design disciplines provide perspectives on how they have used project design, research, analytical and writing skills developed as a result of completing a PhD to enrich their professional practice and add value to their organisations. The Impact of a PhD on Design Practice is relevant not only to doctoral students who anticipate an academic career, but also to practitioners and those interested in undertaking doctoral research in order to bring their insights from their research to practice.

Notions of the sublime are most often associated with the extraordinary, and include the intra-psychic, high-cultural and exceptional occurrences of elation and exaltation as part of the experience. Using psychoanalytic and aesthetic theories, this book aims to revitalise the sublime by re-evaluating its significance for contemporary life and, in a unique and fascinating endeavour, opens up a space that explores the sublime in the ordinary, everyday and quotidian. Through the exploration of familiar (i.e. love, death, art and nature) and unfamiliar (pornography, education and politics) threads of the sublime experience, this book posits the sublime as invoking an ordinary human response which contains minute, inter-psychic, inclusive and even mass-media cultural elements, and carries within it therapeutic and political potential. It explores loving and caring, as well as hateful, traumatic and destructive encounters with the sublime, demonstrating how it can overflow and destabilise our psychological and social symbolic structures and expose their fictional and constructed nature, but also shows it as something we can engage with in order to re-create and heal ourselves, above and beyond what any 'given' form of reality can offer us. Demonstrating the urgent need to understand the sublime as something that is immanent in our everyday life, a source of energy and inspiration that can be invoked to support our mental health and well-being, this book will be of great interest to psychoanalysts, psychotherapists and art therapists, as well as scholars and students of philosophy and popular culture.

This distinctively interdisciplinary book draws upon psychoanalytic theory to explore how expectations, desires and fears of documentary subjects and filmmakers are engaged, and the ethical issues that can arise as a result. Original and accessible, the second edition of this ground-breaking book addresses the four fundamental concepts of psychoanalysis and documentary film, reviews documentary film practice as a field, provides a personal account of the author’s relationship with a subject of her own work, and presents a thorough interrogation of the ethics of documentary. The updated text includes a new introduction by the author and an additional chapter ‘Stories We Tell’ by Sarah Polley, centered on ethics and the role of the filmmaker in relation to her participants. Psychoanalysis and Ethics in Documentary Film, 2nd revised edition has already been used widely and is crucial reading for film studies scholars, psychoanalysts, psychotherapists and psychotherapeutically engaged professionals, as well as filmmakers, culture studies students and anyone interested in the process of documentary-making and contemporary culture.

Mobile media such as smartphones, apps, and social media are an integral part of everyday life, used by billions of people around the world. For students and researchers, mobile media also offer a treasure trove of new concepts, methods, and techniques to do research – representing a new phase in digital methods. Across disciplines, researchers rely upon mobile media for quantitative and qualitative projects, to gather data and document sound and images, engage with participants, and disseminate findings. This is the first textbook devoted to explaining these innovative and groundbreaking mobile media methods. Exploring the opportunities and limitations mobile media offer for methods, the book covers a range of topics from mobilities and placemaking to virtual reality and AI, as well as new kinds of mobility such as e-scooters and connected cars. Student-friendly features such as practical guidance on how to gather and analyse data alongside exercises are also included. Underscoring the book throughout is the definition of methods as not just a series of tools and techniques, but as an invitation to rethink how to conceptualize, practice, study and theorize the relationship between research, data and the field. Drawing from the best of mobile and digital communication research, Mobile Media Methods offers a clear, accessible, and practical guide to mobile media methods. It is essential reading and a useful resource for students and scholars of digital technology and research methods.

This book explores how traumatic experiences of impingement and neglect – in childhood and adulthood, and at both the family and the state level – may create a desire in us to be parented by certain kinds of screen media that we unconsciously believe are “watching over” us when nothing else seems to be. Andrew Asibong explores how viewers make psychical use of eerily moving images, observed in film and television and later taken into an already traumatised mind, in order to facilitate some form of reparation for a stolen experience of caregiving. It explores the possibility of a media-based “working through” of both the general traumas of early environmental failure and the particular traumas of viewers racialised as Black, eventually asking how politicised film groups in the age of Black Lives Matter might heal from a troubled past and prepare for an uncertain future through the spontaneous discussion – in the here and now – of enlivening images of potentially deadly vulnerability. Post-traumatic Attachments to the Eerily Moving Image: Something to Watch Over Me will be of great interest to academics and students of film, media and television studies, trauma studies and psychoanalysis, culture, race and ethnicity.

This book explores the industrial and personal challenges faced by filmmakers in bringing the current worldwide craze for documentary films and series to screens small and large. Utilizing a number of case studies drawn from in-depth interviews with acclaimed documentary directors, producers, and screenwriters from around the world, Phoebe Hart offers a thematic analysis to reveal the risks and opportunities for practitioners. Hart examines these themes in the context of current scholarship to provide insight into the modes and methods of making factual screen content as she engages with the documentary form and the marking of it, acquisition of mastery and inspiration, and specific rituals and habits of practice. From the unique vantage point of being a “pracademic” – that is, being both a successful documentary filmmaker and a recognized screen researcher and teacher - Hart ultimately argues for greater support of filmmakers and pursuit of a deeper understanding of creative processes.

This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research