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978-989-96858-2-6, This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research.

978-989-96858-2-6, This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research.

978-989-96858-2-6, This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research.

978-989-96858-2-6, This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research.

978-989-96858-2-6, This paper seeks to explore the issues raised by the process of engaging in a practice-based PhD in Filmmaking. As a sole practitioner the screenwriting doctoral student is able to explore her practice through the development of a screenplay, but what of the potential doctoral students who may wish to explore their specialist and professional filmmaking practices but who are unable to operate as sole practitioners, because of the collaborative requirements of the professional filmmaking model. Using the experience of the screenwriting doctoral investigation, and particularly the exploration of the relationship between methodology, exegesis and the creative artefact, we explore a potential model that would enable all filmmaking specialists to engage in doctoral research. Art students engaging in practice-based doctoral research do so in an environment formed by Government requirements that demand cultural, environmental and economic impacts as well as a methodology that to a large extent is formed by social science measures of value. Using this framework as a starting point we attempted to identify a suitable model that would enable filmmakers to undertake practice-based doctoral research.