Items where Subject is "Creative writing"

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Number of items at this level: 6.

K

qualitative research inquiry sets out to investigate the active interplay of design
poetry with users, designers and the objects of design. The outcome of this thesis has
contributed to the field of design by expanding the concept of design poetics and
developing design poetry as another dimension of design writing. It examines the
relationship between poetry and design against the backdrop of a growing interest in
the ways in which we write about the designed world. It proposes design poetry as a
compelling and immersive form of design engagement, one which is as yet underresearched.
This research has also shown that, with its capacity to encompass social, political and
cultural factors, design poetry can be a significant vehicle in shaping our view of the
objects of design. The plastic chair became a focus for this research gaze, as an
object of design importance, with both social and cultural relevance; as an object that
is mundane and quotidian but one that can achieve iconic status as a design classic.
The research adopts methods that support the critical-creative approach which
underpins an arts-based inquiry. A significant outcome of the research is in the
development and synthesis of new creative research methods: the creative
conversations facilitating a dynamic collaborative dialogue with the key protagonists
i.e. designers, poets and users who remain at the heart of this inquiry; the synthesis of
individual and group critique on design poetry practice, employed as a method to both
share, evaluate and contribute to the development of the researcher’s creative work;
the creative output itself, a book of original poetry that reflects the research endeavour
and captures the dynamic interplay of making, consuming and narrating.

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T

Practice as Research (PaR), and Practice-led Research, as studied by Hazel Smith, Roger T. Dean, and Graeme Sullivan, are increasingly being implemented in a wide range of disciplines. In this article, I will report on the methodological trajectory of my creative practice, an autoethnographic work that used film forms as research. The process progressed on three levels of investigation: the narrative, the epistemological, and the ontological. It developed from my personal experience and research in the archive, as a network of references supporting and responding to the needs of producing films through the exploration of prior film methodologies, and elaborating novel forms of mediation of history, memory, and postmemory

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Lunch with Family is a short film (30’) on postmemory that was shortlisted in the Inspiration category at the AHRC Research in Film Awards held at BAFTA in London in 2016. Judges thought the film to be "visually and thematically engaging and called it strong".

The film reveals the tension between Slav-silenced history in Trieste and its impact on personal life and identity in a city-symbol on the former Iron Curtain, in Italy. The film intertwines the author's own story with the history of forced Italianisation of half a million Slavs, their persecution, their organisation in anti-Fascist groups, and the final attempt to delete this ethnic group, which, in Trieste in 1918, was more substantial than in Ljubljana – the capital of Slovenia.

As part of the wider discourse of postmemory, the films aligns with the work of other scholars: Anne Karpf's The War After: Living with the Holocaust (1997) and Marianne Hirsch's Family Frames: Photography, Narrative and Postmemory (2004), but also Eva Hoffman's After Such Knowledge. However, Lunch with Family goes further. It uncovers the long history of resistance and the fight for the existence of a community that does not see its history acknowledged in Italy.

Based on interdisciplinary research, archival material and interviews, the film establishes the use of research-by-practice on film as an adequate epistemological methodology to uncover long-buried events and to explore the loop of existential questions the situation provoked and continues to stir in Trieste's Slav inhabitants. A paper published in Screenworks (Vol.8, No.1) in January 2018 explored the context, methods and outcomes of the research enquiry, and Turina presented conference papers and screenings at events in Sheffield, York and Cambridge during 2016-17.

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San Sabba is a short film (29‘ 50”) that debates the way we conceive of sites of memorialisation, the way they represent people and who they were in the past. The Hollywood International Independent Documentary Awards gave the film the Recognition Award in June 2017 and screened the film at the Awards event in Los Angeles, US, in March 2018.

Building on the method tested with Lunch with Family, this film displays the archival research and personal engagement in the discovery of the Axis Concentration Camp of the Risiera di San Sabba in Trieste, Italy, which was active from 1943 to 1945. The film debates the alignment of the Museum of the Risiera di San Sabba to the narrative of the Holocaust, as the site was predominantly used for the detention, interrogation and killing of freedom fighters and their families.

San Sabba aligns with known works within the Holocaust film tradition, as it explores events that took place within the same logic of genocide. Especially relevant are filmmakers as Alain Resnais, Night and Fog (1955), and Claude Lanzmann, Shoah (1985), because they tackle the unseen issues related to the depiction of genocide. Equally important is the work of Jeremy Hicks, The Unseen Holocaust of WWII (2014), which casts questions on the predominantly camps based narrative of the Holocaust. However, San Sabba opens the discussion to the concept of memorialisation in Italy, as the camp in Trieste fails to reveal the documented purpose of the site.

Full screenings of the film took place in York and Athens in 2017, and at the Hollywood International Independent Documentary Awards, in March 2018. Turina presented conference papers and particle screenings at peer-reviewed events in Sheffield, York and Cambridge during 2016-17.

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This article explores the use of animation in the essay film and analyses how screenwriting animation becomes a complex process of translation of the message the film wishes to address. With a focus on issues encountered in the development of two short essay films, Lunch with Family (2016) and San Sabba (2016), the article maps the process that in both cases guided the scripting of animated sequences, and analyses why in the editing room the director chose to use stills from the animations, instead. An example of the narrative techniques applied to mediate silenced history and postmemory in film, this contribution intends to add to the larger discussion on the current state of the art in screenwriting non-fiction.

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The chapter considers elements at play in the establishment of our current historical knowledge. Looking at past events as complex adaptive systems, it demonstrates why the current mediation of history is oversimplified. By formulating the possibility of a complex narrative matrix (environment), it explores its potential in offering both an archive of evidence drawn from multiple agents, and presenting the evolving relationship between them in time. This matrix aligns itself with a simulation of a CAS, the primary interest being the VR matrix' ability to be both an interactive interface enabling exploration of the evidential material from different points of access, and a construction able to reveal its procedural work; a dynamic that elicits the creation of meaning by including the reasoning behind the chosen archival material, the product of the process, and the process itself.

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