Group work is a well-recognised pedagogical practice in Higher Education (HE), meant to facilitat... more Group work is a well-recognised pedagogical practice in Higher Education (HE), meant to facilitate peer collaboration in contexts simulating realistic industry situations. While group work is credited with helping students to develop a range of communication, social and negotiation skills, it can also disenfranchise students, leading to disorganisation and creative disputes. With increased numbers of students taking up HE film and television and creative writing degrees, group work is necessary to prepare students for industry practice. However, with limited time within a semester to produce such artefacts as screenplays and short films, group-based projects can backfire, creating tensions and conflicts, and resulting in decreased student satisfaction. This study discusses the process of implementation and evaluation of a redesigned screenwriting model, where the act of restructuring the group work component of the studies to ensure that all students participate in the writing of th...
Review(s) of: Australian comedy films of the 1930s: Modernity, the urban and the international, b... more Review(s) of: Australian comedy films of the 1930s: Modernity, the urban and the international, by Lesley Speed. ATOM, 2015.
Both a process and a set of products, influenced by policy as well as people, and incorporating o... more Both a process and a set of products, influenced by policy as well as people, and incorporating objective agendas at the same time as subjective experiences, script development is a core practice within the screen industry-yet one that is hard to pin down and, to some extent, define. From an academic research perspective, we might say that script development is a 'wicked problem' precisely because of these complex and often contradictory aspects. Following on from a recent Journal of Screenwriting special issue on script development (2017, vol. 8.3), and in particular an article therein dedicated to reviewing the literature and 'defining the field' (Batty et al 2017), an expanded team of researchers follow up on those ideas and insights. In this article, then, we attempt to theorise script development as a 'wicked problem' that spans a range of themes and disciplines. As a 'wicked' team of authors, our expertise encompasses screenwriting theory, screenwriting practice, film and television studies, cultural policy, ethnography, gender studies and comedy. By drawing on these critical 2 domains and creative practices, we present a series of interconnected themes that we hope not only suggests the potential for script development as a rich and exciting scholarly pursuit, but that also inspires and encourages other researchers to join forces in an attempt to solve the script development 'puzzle'.
Abstract This paper argues that the internet is changing development, commissioning and productio... more Abstract This paper argues that the internet is changing development, commissioning and production practices of Australian screen comedy. Due to ease of shareability, online comedy is traditionally of shorter length and cheaper than television to produce and is therefore attracting increased funding opportunities. The online environment offers new opportunities for emerging Australian comedy performers, creators and developers to produce screen comedy that resonates with audiences. A high online viewership may result in a greater share of subsequent funding and future commissioning into longer alternate formats, such as television. The desire for producing online comedy that is more likely to be shared is therefore impacting comedy production practice in Australia. By investigating several successful Australian online comedies, in terms of funding, content and viewership, the essay argues that the online platform allows the audience to influence the types of screen comedy being produced in Australia. The study examines how the Australian made online projects that are the most successful, in terms of funding and views, tend to be those that elicit laughter, shock, surprise and anger as these are the online projects most likely to be shared. This paper draws upon a larger study that relates to Australian narrative television comedy development.
Sincere thanks must be given to the many people who have supported me on the long journey of this... more Sincere thanks must be given to the many people who have supported me on the long journey of this research and creative project. Firstly, I am especially grateful to my supervisor, Dr Lisa Dethridge, whose ongoing support, wisdom and constructive criticism was invaluable, and for which I am greatly indebted. I am also sincerely thankful to Dr Tony Paice, whose feedback was so generously given. I wish to give special thanks to the academic and administrative staff at RMIT School of Media and Communication, particularly to Dr Damian Schofield and our wonderfully committed administrative staff and librarians. I am also thankful to have wonderful and supportive friends and colleagues, and I am particularly appreciative of the guidance of my University of Melbourne colleague, Dr Eddie Paterson, and the support of Daniel Shultheis of Open Channel. I am also appreciative of the enthusiasm and inspiration given to me by my screenwriting students. Finally, but most especially, I wish to thank my husband, Daniel, whose love and support is immeasurable. I would like to acknowledge the love, enthusiasm and creativity given by my children, Macy and Chevy, and the assistance of my family, particularly Viva and
This article examines how the inclusion of a pilot as part of the proposal for a narrative comedy... more This article examines how the inclusion of a pilot as part of the proposal for a narrative comedy series, which might include the web series as pilot, can increase the chances of the project being commissioned by a television network. It draws on a series of interviews conducted with Australian television comedy writers, producers and commissioners, and funding agencies, about the importance of the pilot in the pitching process. This includes the potential of the pilot to demonstrate style, tone and comedic nuances; to showcase particular performers; and, in the case of the web series, to generate a ready-made audienceall of which might not be possible on the page. The article refers to successfully pitched and piloted Australian narrative comedy series to give context to its findings, including Wilfred, Lowdown, Please Like Me and The Katering Show. By also drawing on the authors' backgrounds as practitioner-academics with experiences in script development and screenwriting, the article aims to provide both theoretical and practice-based insights about the role of the pilot in narrative comedy pitching and commissioning.
This study investigates the impediments that Australian, female, independent filmmakers face in b... more This study investigates the impediments that Australian, female, independent filmmakers face in bringing female-centred stories onto the screen. In 2016, the federal screen funding agency Screen Australia launched Gender Matters to better understand the many barriers facing women filmmakers and create opportunities for female screen creatives to gain equity in the screen industries. But how have this impacted and improved conditions for female filmmakers? The authors of this current study are female screenwriters, directors and producers who have experienced and witnessed the many difficulties women face in the Australian screen industry. The article comprises case studies of recent, successful, female, independent feature filmmakers, the AACTA Award nominated creators of Strange Colours, The Second and Hot Mess. The research explores emergent themes and recommendations based on interviews with the filmmakers. They observe that while some impediments in the low budget, independent s...
Group work is a well-recognised pedagogical practice in Higher Education (HE), meant to facilitat... more Group work is a well-recognised pedagogical practice in Higher Education (HE), meant to facilitate peer collaboration in contexts simulating realistic industry situations. While group work is credited with helping students to develop a range of communication, social and negotiation skills, it can also disenfranchise students, leading to disorganisation and creative disputes. With increased numbers of students taking up HE film and television and creative writing degrees, group work is necessary to prepare students for industry practice. However, with limited time within a semester to produce such artefacts as screenplays and short films, group-based projects can backfire, creating tensions and conflicts, and resulting in decreased student satisfaction. This study discusses the process of implementation and evaluation of a redesigned screenwriting model, where the act of restructuring the group work component of the studies to ensure that all students participate in the writing of th...
Review(s) of: Australian comedy films of the 1930s: Modernity, the urban and the international, b... more Review(s) of: Australian comedy films of the 1930s: Modernity, the urban and the international, by Lesley Speed. ATOM, 2015.
Both a process and a set of products, influenced by policy as well as people, and incorporating o... more Both a process and a set of products, influenced by policy as well as people, and incorporating objective agendas at the same time as subjective experiences, script development is a core practice within the screen industry-yet one that is hard to pin down and, to some extent, define. From an academic research perspective, we might say that script development is a 'wicked problem' precisely because of these complex and often contradictory aspects. Following on from a recent Journal of Screenwriting special issue on script development (2017, vol. 8.3), and in particular an article therein dedicated to reviewing the literature and 'defining the field' (Batty et al 2017), an expanded team of researchers follow up on those ideas and insights. In this article, then, we attempt to theorise script development as a 'wicked problem' that spans a range of themes and disciplines. As a 'wicked' team of authors, our expertise encompasses screenwriting theory, screenwriting practice, film and television studies, cultural policy, ethnography, gender studies and comedy. By drawing on these critical 2 domains and creative practices, we present a series of interconnected themes that we hope not only suggests the potential for script development as a rich and exciting scholarly pursuit, but that also inspires and encourages other researchers to join forces in an attempt to solve the script development 'puzzle'.
Abstract This paper argues that the internet is changing development, commissioning and productio... more Abstract This paper argues that the internet is changing development, commissioning and production practices of Australian screen comedy. Due to ease of shareability, online comedy is traditionally of shorter length and cheaper than television to produce and is therefore attracting increased funding opportunities. The online environment offers new opportunities for emerging Australian comedy performers, creators and developers to produce screen comedy that resonates with audiences. A high online viewership may result in a greater share of subsequent funding and future commissioning into longer alternate formats, such as television. The desire for producing online comedy that is more likely to be shared is therefore impacting comedy production practice in Australia. By investigating several successful Australian online comedies, in terms of funding, content and viewership, the essay argues that the online platform allows the audience to influence the types of screen comedy being produced in Australia. The study examines how the Australian made online projects that are the most successful, in terms of funding and views, tend to be those that elicit laughter, shock, surprise and anger as these are the online projects most likely to be shared. This paper draws upon a larger study that relates to Australian narrative television comedy development.
Sincere thanks must be given to the many people who have supported me on the long journey of this... more Sincere thanks must be given to the many people who have supported me on the long journey of this research and creative project. Firstly, I am especially grateful to my supervisor, Dr Lisa Dethridge, whose ongoing support, wisdom and constructive criticism was invaluable, and for which I am greatly indebted. I am also sincerely thankful to Dr Tony Paice, whose feedback was so generously given. I wish to give special thanks to the academic and administrative staff at RMIT School of Media and Communication, particularly to Dr Damian Schofield and our wonderfully committed administrative staff and librarians. I am also thankful to have wonderful and supportive friends and colleagues, and I am particularly appreciative of the guidance of my University of Melbourne colleague, Dr Eddie Paterson, and the support of Daniel Shultheis of Open Channel. I am also appreciative of the enthusiasm and inspiration given to me by my screenwriting students. Finally, but most especially, I wish to thank my husband, Daniel, whose love and support is immeasurable. I would like to acknowledge the love, enthusiasm and creativity given by my children, Macy and Chevy, and the assistance of my family, particularly Viva and
This article examines how the inclusion of a pilot as part of the proposal for a narrative comedy... more This article examines how the inclusion of a pilot as part of the proposal for a narrative comedy series, which might include the web series as pilot, can increase the chances of the project being commissioned by a television network. It draws on a series of interviews conducted with Australian television comedy writers, producers and commissioners, and funding agencies, about the importance of the pilot in the pitching process. This includes the potential of the pilot to demonstrate style, tone and comedic nuances; to showcase particular performers; and, in the case of the web series, to generate a ready-made audienceall of which might not be possible on the page. The article refers to successfully pitched and piloted Australian narrative comedy series to give context to its findings, including Wilfred, Lowdown, Please Like Me and The Katering Show. By also drawing on the authors' backgrounds as practitioner-academics with experiences in script development and screenwriting, the article aims to provide both theoretical and practice-based insights about the role of the pilot in narrative comedy pitching and commissioning.
This study investigates the impediments that Australian, female, independent filmmakers face in b... more This study investigates the impediments that Australian, female, independent filmmakers face in bringing female-centred stories onto the screen. In 2016, the federal screen funding agency Screen Australia launched Gender Matters to better understand the many barriers facing women filmmakers and create opportunities for female screen creatives to gain equity in the screen industries. But how have this impacted and improved conditions for female filmmakers? The authors of this current study are female screenwriters, directors and producers who have experienced and witnessed the many difficulties women face in the Australian screen industry. The article comprises case studies of recent, successful, female, independent feature filmmakers, the AACTA Award nominated creators of Strange Colours, The Second and Hot Mess. The research explores emergent themes and recommendations based on interviews with the filmmakers. They observe that while some impediments in the low budget, independent s...
Uploads
Papers by Marilyn Leder