Susan Kerrigan

Susan Kerrigan
Swinburne University of Technology · Department of Film, Games and Animation

Doctor of Philosophy (Communication and Media Arts)

About

44
Publications
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217
Citations

Publications

Publications (44)
Article
Addressing the question “how is a podcast created?” – four podcasters document their practice as research, framing their experiences as a research enquiry while making their first podcast. Practitioner Based Enquiry was the methodology and reflective practice was one of the methods underpinning the stages of podcasting production. These accounts of...
Article
Full-text available
This article focuses on New South Wales (NSW) regional secondary teachers' perceptions of Creative Industries as a higher education vocation pathway for students. The Creative Industries Roadshow sought to help students and teachers reimagine regional and remote career opportunities and study pathways into Creative Industries higher education. Crea...
Article
Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory suppor...
Article
Success and failure in the creative and media industries are not polar opposites. In a predominantly neoliberal world, with its consuming emphasis on winning at all costs, success is not only easy to identify but is valorised, particularly for individuals, while failure is often hidden or perceived as negative. We argue that the relationship betwee...
Book
This handbook is an essential creative, critical and practical guide for students and educators of screen production internationally. It covers all aspects of screen production—from conceptualizing ideas and developing them, to realizing and then distributing them—across all forms and formats, including fiction and non-fiction for cinema, televisio...
Article
The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes...
Article
Filmmaking research is developing within the academy and the Filmmaking Research Network (FRN) was set up to provide insight into the conditions and dimensions of filmmaking as research. The assessment of impact is of great interest to the FRN as film is a populist medium and it can be effectively used to disseminate research. For example, ‘Act of...
Chapter
This chapter looks at this research literature on creativity as it is drawn on in the field of education. While there have been quite a number of authors engaged in the pursuit of the relationship between creativity and education, not the least of which is Vygotsky, we have concentrated on a few here to get some sense of what this field has been do...
Chapter
This chapter outlines the deep contextual background to research into creativity arguing that across the globe there have been different ways of conceiving of creativity. Not all cultures see the bringing of novelty into being in the same way that the West does and not all cultures value it the same way. In this chapter, we look closely at the Sout...
Chapter
This chapter explores ideas on creativity that are pivotal for the argument we are presenting in this book. They are at the heart of our curriculum and pedagogical approach which we present later in this book. It is here, in this chapter, that we look at various confluence approaches, including a reiteration of Bourdieu’s sociological approach, and...
Chapter
This chapter outlines the undergraduate experience of students in the Bachelor of Communication at the University of Newcastle in Australia where the theories about creative practice are coupled with the teaching, in this case, of media practice and production. While our higher education students, studying media production, are led toward very spec...
Chapter
This chapter is an appraisal of the work sociology has undertaken as a discipline in terms of their investigations of creativity. Unlike psychology, which sees creativity as an attribute of all areas of human activity, from the arts to the sciences, sociology appears to focus its efforts on the arts and cultural production. We start our appraisal o...
Chapter
This chapter applies these ideas of creativity and education in an international setting. If this educational process works, which we believe it demonstrably does, then it must be applicable in other settings for it to be of any worth internationally. Fortunately, it has begun to be adapted to other educational settings and these include a course r...
Chapter
This chapter discusses post-graduate research employing these ideas around creativity. Some of those that go on to further study undertake traditional research, often in the form of an ethnography, while many of them at postgraduate level pursue further creative practice as a form of practitioner based enquiry (PBE). They investigate screenwriting,...
Chapter
This chapter details a case study of the University of Newcastle Bachelor of Communication program’s capstone course. This course takes all the prior learning as its jumping off point and is the final year course in the undergraduate program where little distinction is overtly manifest between theory and practice. We believe this course, and all th...
Chapter
This chapter takes these ideas and introduces a model we believe helps in educating higher education students for creativity. This model, given the emphasis that we have placed on it in this narrative, is based, of course, on the systems model of creativity but adapted for the educational setting by Michael Meany. His paper, ‘Creativity and Curricu...
Chapter
This chapter sets the scene for the book and introduces the reader to our ideas about creativity and higher education to prepare students to work in an environment that is increasingly moving away from full-time employment toward freelancing and casualisation in the media industries. Preparing students for life in a dynamic set of global creative i...
Chapter
In this chapter, in drawing our conclusions, we argue that if there is a future for this model, and we sincerely believe there is, much more testing needs to be done in a wider set of institutions across a diverse array of cultures. Only then will we be able to confirm what we have experienced in Newcastle and these other settings. But since the sy...
Chapter
This chapter concentrates on the evolution of a psychology of creativity. In doing so, we track thinking from early attempts at understanding creativity from Sir Francis Galton and Cesare Lombroso through to Freud and the psychoanalytic view of creativity. We then turn our attention to the rationalist responses from psychology, addressing Guildford...
Article
Practitioner-based enquiry (PBE) has been successfully applied as a research methodology to media production projects for undergraduates, honours and doctoral researchers at the University of Newcastle, Australia. PBE incorporates reflective practitioner approaches and extends ethnographic methods by offering a methodology that investigates the sub...
Chapter
Screen production research brings new knowledge to the practice of filmmaking, screenwriting, and digital media production. This type of creative research is attractive to those who have worked professionally, are aspiring to do so, or want an academic career specialising in screen production practice. Choosing an appropriate methodology, epistemol...
Book
Creativity, Education and the Arts Series Editor: Anne Harris, RMIT, Australia This book provides innovative insights into how creativity can be taught within higher education. Preparing students for employment in a dynamic set of global creative industries requires those students to not only be resilient and entrepreneurial, but also to be locall...
Book
Aimed at students and educators across all levels of Higher Education, this agenda-setting book defines what screen production research is and looks like-and by doing so celebrates creative practice as an important pursuit in the contemporary academic landscape. Drawing on the work of international experts as well as case studies from a range of fo...
Article
The relationship between film-makers who create and spectators who judge film is the focal point of this paper. It examines theoretically how these two positions co-exist inside a film-maker that can be supported through critical and conceptual creative practice frameworks. By drawing on filmology, an early film studies area of scholarship, origina...
Article
The ‘Steel City’ of Newcastle, Australia, is transforming into a ‘Creative City’. Renew Newcastle provides a unique and innovative success story of the reactivation of 150 empty retail shops that were populated by ‘makers’ who could use those spaces as both studios and retail outlets to sell their authentic handmade products. Renew's story sits com...
Article
Feature films remain critical flagships to any national film industry. Australian feature films can be highly commercial endeavours that also perform symbolic functions by embodying the national imaginary in big screen based sound and imagery. They conduct a dialogue with domestic audiences as well as showcase key aspects of Australia in the global...
Article
Valuing the production of screen works as research in the academy has become an urgent matter of research and scholarly equity facing the Australian screen production sector. Made up of filmmaker-academics this sector is collectively speaking out about a number of burning issues as evidenced in this article which deeply affect the kinds of scholars...
Article
Noirscapes is a transmedia experience, and the cameras are rolling. Writing its own version of Los Angeles’ history, Noirscapes is a filmed scholarly discourse that literally drives through the urban environment of the city of Los Angeles constructing a noir historiography. The authors of this article are film-makerresearchers who, as a mode of cre...
Article
Full-text available
In the last decade screenwriting as a profession has changed significantly, with the writing of a screen idea no longer a singular individual pursuit. Screenwriting has become a truly collaborative practice, and even though the screenplay is considered by some as being ‘authorless’ or a ‘signpost not a destination’ , it is also an activity that inh...
Chapter
The systems perspective ‘views creativity not as the product of an isolated individual’s aptitude or quirkiness, but as an interaction occurring among a talented individual, a domain of knowledge or practice, and a field of experts’ (Hooke et al. in Paulus and Nijstad 2003, p. 228) who recognize the work as creative.
Article
Full-text available
Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film...
Article
Non-fiction transmedia draws on the same definitions as fiction transmedia (PGA, 2010), which accepts without dispute the reference to ‘fictional story worlds’ (Jenkins, 2007; O'Flynn, 2012). By drawing attention to this grammatical oversight, we will review non-fiction transmedia literature, highlight the success of Go Back to Where You Came From...
Article
Full-text available
Innovation is at all times accompanied by tradition and creative action of all types takes place against a backdrop of continuity and change, as stated by Keith Negus and Michael Pickering in their 2004 book Creativity, Communication and Cultural Value. On page 91, they write: ‘It is only by thinking about their interrelationship that we can unders...
Article
Full-text available
Practice-led research using person-centred theories of creativity is being challenged by confluence approaches to creativity. ‘The systems model of creativity’ (Csikszentmihalyi 1999: 315) represents one confluence theory, which re-conceptualizes creativity by immersing the agent in a cultural and social system that enables and constrains creative...
Article
Full-text available
This paper outlines the results of a study examining student collaborative practice in screen production courses in Singapore and Australia. Of particular interest, is how the Australian curriculum, originally designed for graduates of a Western liberal higher education system, would translate to a culturally diverse group of students in Asia. The...
Article
Full-text available
Grierson defined documentary as the creative treatment of actuality. The aim of this article is to add to existing discussions of this phrase. Attention will be given to documentary as art, and the Griersonian notion of artist. An examination of the relationship between art, creativity and documentary production and consumption will rationalize and...

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Projects

Projects (4)
Project
The researchers who have contributed to this research program, across its decade and a half long existence, have pursued one fundamental research question. How does creativity work? To avoid confusion with the Western cultural assumption that ‘creativity’ equals ‘artistic activity’, we put that simple yet profound research question into terms the international research community investigating creativity uses itself (Hennessy 2017), that is, how are novel and valued things bought into being? In answering that research question we also ask a very practical one - can we use evidence-based examinations of creativity to increase our ability to generate unique and valued products, processes, and ideas? This research focus has given this group a broad set of objects and processes to focus on. We have pioneered the innovative application of a systems-based approach to creativity which has been scaled across specific areas. In the first instance, individual and group creative practice within specific types of creative production such as popular music songwriting, record production, film making, scriptwriting, television production, book publishing, journalism, photography and so on, have been examined. In the second instance, we have scaled this up to an examination of the operations of the creative industries. These industries are defined for us as those industries that, first, “require some input of human creativity; second, they are vehicles for symbolic messages, that is, they are carriers of meaning; and third, they contain, at least potentially, some intellectual property that belongs to an individual or group” (Davies & Sigthorsson 2013, p. 1). In the third instance, we are now scaling up our examination of creativity and the creative industries again. We are building on pilot work we have already conducted into the realm of cross-cultural creativity investigating specific creative industries within the Asia Pacific region as they operate in a highly globalised and digitised terrain.
Project
This Network seeks to champion and investigate the role of Creativity in Higher Education into the 21st Century. Bringing together a range of Academics in Creativity, Creative Industries and Education to discuss and further the National and International conversation around creativity and its contemporary role in society and tertiary education.
Project
The project aims to support regional and remote High School students facing the prospect of decline in the traditional areas of farming, mining and manufacture to re-imagine their futures and aspire to work in Creative Industries (Rural Councils Victoria, 2014). The project will provide students, their families, teachers and careers advisors with information about the skills needed to be successful in the industry, what Creative Industry jobs look like and the benefits a university education can provide if you should aspire to a Creative Industries career. A Creative Industry ROADSHOW will travel to and deliver multiple educational outcomes to hundreds of High School students by visiting six remote and regional centres and explaining how digital technology and its related economy has shaped and is shaping Creative Industry opportunities and careers. The ROADSHOW will inspire High School students and allow myths and misunderstandings about University life and careers in the Creative Industries to be extinguished.