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"creatorSummary": "Koppel", "parsedDate": "2007-01-01", "numChildren": 2 }, "data": { "key": "632V4FHG", "version": 78, "itemType": "journalArticle", "title": "Documentary — the evocation of a world", "creators": [ { "creatorType": "author", "firstName": "Gideon", "lastName": "Koppel" } ], "abstractNote": "This article sets out to describe the conceptual evolution of a feature-length documentary film from the first few words on paper through to a finished 35mm print. Central to the development of the project is a recognition that this film is an evocation of a world…and in particular a very personal world of the author. Placing the film within a critical, historical context, there is an exploration of precedents to this idiom of practice — documentary which interrogates the boundaries between its own supposed and assumed objectivity, and the subjective view of the personal, what one might term ‘poetic’ film.", "publicationTitle": "Journal of Media Practice", "publisher": "Routledge", "place": "", "date": "January 1, 2007", "volume": "8", "issue": "3", "section": "", "partNumber": "", "partTitle": "", "pages": "305-323", "series": "", "seriesTitle": "", "seriesText": "", "journalAbbreviation": "", "DOI": "10.1386/jmpr.8.3.305_1", "citationKey": "", "url": "https://doi.org/10.1386/jmpr.8.3.305_1", "accessDate": "2021-08-18T15:16:28Z", "PMID": "", "PMCID": "", "ISSN": "1468-2753", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "Taylor and Francis+NEJM", "callNumber": "", "rights": "", "extra": "_eprint: https://doi.org/10.1386/jmpr.8.3.305_1", "tags": [ { "tag": "documentary", "type": 1 }, { "tag": "evocation", "type": 1 } ], "collections": [], "relations": {}, "dateAdded": "2021-08-18T15:16:28Z", "dateModified": "2021-08-18T15:16:28Z" } }, { "key": "Z66BG8V2", "version": 78, "library": { "type": "group", "id": 545238, "name": "Practice Research", "links": { "alternate": { "href": "https://www.zotero.org/groups/practice_research", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/545238/items/Z66BG8V2", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/practice_research/items/Z66BG8V2", "type": "text/html" } }, "meta": { "createdByUser": { "id": 30160, "username": "ebenj", "name": "Eben Muse", "links": { "alternate": { "href": "https://www.zotero.org/ebenj", "type": "text/html" } } }, "creatorSummary": "Bell", "parsedDate": "2006", "numChildren": 0 }, "data": { "key": "Z66BG8V2", "version": 78, "itemType": "journalArticle", "title": "Creative film and media practice as research: In pursuit of that obscure object of knowledge", "creators": [ { "creatorType": "author", "firstName": "Desmond", "lastName": "Bell" } ], "abstractNote": "What are the continuities between research activity focused on creative practice, and other forms of film and media research? What are the methodological differences between practice-based research in the still and moving image and traditional academic scholarship in film and imaging studies? In response to the pressure to 'publish or perish' and to compete for scarce research funds, some creative media arts academics have sought to legitimize their practice-based work as a modality of systematic investigation that fits within a generic template of academic research. Given the specificity of creative arts activity and the distinctive forms of knowledge generated in and through practice-based research in the lens and screen-based media, is this strategy sustainable? Is it desirable? In this paper I explore some of the epistemological difficulties associated with pursuing a generic research strategy for the media arts, examining some of the false starts we have made in plotting the relationship between research and creative practice. Recent developments within aesthetics have sought to understand the art work as a form of performance. This approach might prove instructive in identifying an appropriate research paradigm for arts practice, including film and photography, in so far as it addresses the relation, 'between the generative act that brings a work into existence and the receptive act that is a proper appreciation of that work'. 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As a performer-scholar, who also writes non-performancerelated scholarship, I welcome this challenge, share some of Croft’s reservations about the ways in which these conceptions often manifest themselves, and also have concerns about the rushed integration of practitioners into academia and the implications for more traditional forms of scholarship. 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