Academic-Industry Collaboration for Commercial Film and Television Production : an exploration of case studies

Over the past decade, new types of academic-industry collaborations for commercial film and television production have emerged that aim to help the university partner enhance vocational relevance of their programmes and the industry partner to both find and nurture new talent as well as enable more cost-effective means of production. Building on previous work, this paper considers two collaborative models: University as ‘Production Partner’ and University as ‘Service Provider’. It presents an overview of case studies from a range of collaborations worldwide considering how these partnerships were structured, how stakeholder needs were considered, the benefit to students and graduates, and overall project effectiveness. It then looks in detail at the collaboration between the University of York, UK, and Green Screen Productions Ltd. for the creation of the feature film, The Knife That Killed Me (2014), backed by Universal Pictures UK. Findings suggest that both models are viable but that partners, particularly academic, must understand the nature of engagement in terms of how it relates to their institutional objectives to maximise benefit. It is suggested that these types of collaborations can be utilised in any industrial media setting globally so long as there is careful consideration of the needs and expectations of all participants

Poetry and Minor Evil

Panel: Literature of Evi

Writing Sample

Includes ETHEKWENI, NYOONGAR COUNTRY, GREETINGS, THE BANQUET OF CLEOPATRA, INDUSTRY: TWO KINDS and SAIGYO’S CHERRY TREE

Interdisciplinarity in the Age of the Triple Helix: a Film Practitioner's Perspective

This integrative chapter contextualises my research including articles I have published as well as one of the creative artefacts developed from it, the feature film The Knife That Killed Me. I review my work considering the ways in which technology, industry methods and academic practice have evolved as well as how attitudes to interdisciplinarity have changed, linking these to Etzkowitz and Leydesdorff’s ‘Triple Helix’ model (1995). I explore my own experiences and observations of opportunities and challenges that have been posed by the intersection of different stakeholder needs and expectations, both from industry and academic perspectives, and argue that my work provides novel examples of the applicability of the ‘Triple Helix’ to the creative industries. The chapter concludes with a reflection on the evolution and direction of my work, the relevance of the ‘Triple Helix’ to creative practice, and ways in which this relationship could be investigated further

Diary.

In late January, inspired by 'The Abuse of Beauty', a series of lectures by the American philosopher Arthur Danto, Domenico de Clario - one of Australia's foremost artists and Head of the School of Visual Arts at Edith Cowan University - invited artists, writers and theorists to gather in Albany to discuss the idea of beauty in contemporary culture. In the cosy Spectrum Theatre near the harbour, art historian Charles Green gave the keynote address on the return of beauty in recent art. At one point, Mateer was startled by the ugly images projected to one side of Green: a photograph by Cindy Sherman of a doll-crone, part Bellmer, part Bosch. Yes, when last had contemporary art been beautiful? Later, Green cited the German composer Karlheinz Stockhausen's now infamous statement that September 11 was the greatest work of art of our time - a disturbing and provocative notion.Australia Council, La Trobe University, National Library of Australia, Holding Redlich, Arts Victori

Perceptions of Broadcast and Film Media Practitioners in UK Higher Education

With a growing emphasis on employability and commercial relevance, universities are increasingly involving practitioners in delivery to add perceived value and credibility to their film and television courses. Likewise, film education researchers including Bergala (2016) and others see significant value in practitioner involvement in teaching. Yet, from both the academic and industry sides this integration has been questioned and challenged resulting in a longstanding discussion of the ‘theory/practice divide.’ Through analysis of two formal surveys conducted in 2012 and 2014, involving 131 respondents from 64 UK Higher Education Institutions, this paper reports on the perceptions of broadcast television and film practitioners working in academia. It also briefly considers whether the issues raised have changed since the surveys were completed. Responses suggest that an appreciable number of respondents encountered a mixed or negative reaction from new academic colleagues immediately upon joining their institution, and that this has had a potentially lasting negative impact on their productivity. The data indicates that many media practitioners working in HE do not feel they are seen as equal to non-practitioner colleagues although they do still feel part of the academy as a whole. Respondent institutions were broken down by type and there is statistically significant evidence of perceptions of systematic disadvantaging of media practitioners across all types of UK academic institutions, although Arts-focused universities were seen most favourably. This suggests that, despite the UK government’s increased emphasis on teaching and employability, and new commercially-focused research funding initiatives, HE institutions need to do more to redress the perception of a ‘theory/practice divide’