A practical handbook
Author: Andy Lawrence

This handbook is intended for those wanting to use documentary filmmaking as a research method to explore subjects and also as a way of expressing ideas. Its focus is practical rather than technical, aiming to complement the many handbooks that already exist covering filmmaking, digital videography, sound recording and video editing. It concentrates on aspects of filmmaking for research purposes at an introductory level that are not so well documented elsewhere, such as the practical stages involved in the production of an ethnographic film. The underlying principal of this handbook is to broaden the application of ethnographic filmmaking to suit a wide range of research areas and documentary expression, encompassing sensory, fictive, observational, participatory, reflexive, performative and immersive modes of storytelling. I have chosen to avoid detailed discussion of technology as this dates quickly. This handbook aims to assist individuals in their personalised searches using online facilities to develop research methods and also teaching, by decoding technical terminology and explaining filmmaking workflows.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Abstract only
Andy Lawrence

somehow rooted in a broader reality the results can otherwise be surprising. Whereas the two processes are materially different, I was struck by a similarity in intent between this and video editing, which also relies on textures of engagement to develop a route towards the final expression. Using video editing as a method to understand fieldwork reminds us that in ethnography, theory and structure are more comfortable when they arise through our experience of a location rather than when they are imposed onto it from a distance. In order to analyse material thoroughly

in Filmmaking for fieldwork
Shifting values in university settings
Kathy Sanford and Kristin Mimick

and writing. We had to imagine alternative ways to represent and share learning, and for that we utilised new modes of expression, such as podcasts (digital audio media), voicethreads (media using video, voice and text commenting), iMovie (video editing software) and Prezi (web-based presentation application and storytelling tool that uses a single canvas) presentations, melding voice with visual and written texts. The required course assignments included: 1) regular engagement on Moodle1 (which became more ‘oral’ in nature as the 25 Clover_Sandford.indd 25 05

in Lifelong learning, the arts and community cultural engagement in the contemporary university
John McGrath’s The Adventures of Frank
Lez Cooke

the relatively new and expensive Quantel digital video editing machines in an exploratory way, in order to achieve some patently non-naturalistic effects. However, the decision to experiment with new video technology raised the cost of production beyond that available for a single play. Consequently, the play was divided into two, in order to spread the cost across two budgets. While Quantel had been used for other television programmes, such as Top of the Pops, the technology had been littleused in drama. It was McGrath’s interest in exploring its potential for

in Experimental British television
Kate McLuskie and Kate Rumbold

product of a video edited to music. The contrasting images of children and young people presented in these two reports reveal the RSC’s responsiveness to shifting narratives of cultural value. Where the ‘child … wowed by their first trip to the theatre’ connotes the unfeigned enjoyment of a young person early in their education, unfettered by cultural capital, it remains an essentially passive experience

in Cultural value in twenty-first-century England
National identity and the spirit of subaltern vengeance in Nakata Hideo’s Ringu and Gore Verbinski’s The Ring
Linnie Blake

; Noah’s face appears distorted in the local store’s CCTV even as he provides Rachel with access to his employer’s sophisticated video editing facilities. Television sets and VCRs abound. They dominate family living rooms and invariably appear in hotels and hospitals. As a scene that directly references Hitchcock’s Rear Window (1954) indicates, the rich diversity of lives and lifestyles of which

in Monstrous adaptations
Andy Lawrence

and lightweight filmmaking for fieldwork solution when one considers how this single device now incorporates professional-level video and photographic cameras, a sound recorder, navigation and communication tools, facilities for note-taking and internet research, word-processing and video-editing software. However, manual functionality, recording versatility, storage capacity and audio recording functionality remain compromised even in so-called ‘Pro’ devices, which is significant if you are considering making a film that will appear on a big screen. Framing

in Filmmaking for fieldwork
Douglas Morrey

device in Numéro deux , and Harun Farocki suggests that it is likely to have been inspired by the technique of video editing which requires the editor to think two images simultaneously rather than sequentially (Silverman and Farocki 1998 : 142). The images of the family in Numéro deux were shot on video before being reshot on 35mm; that is to say that the video images were filmed a second time as they played on monitors

in Jean-Luc Godard
Open Access (free)
The imaginary archaeology of redevelopment
David Calder

hide the tools of their trade. The many videos projected and mixed during PlayRec were not cued to seamlessly follow one another; the projectionist had to close one video, offering the assembled spectators a brief glance at the company’s video editing software, and select the next video to play. Bonnard did not typically look behind him to see what was being projected, though several times he openly looked to his colleagues in the dark behind the audience for confirmation that he could proceed with his spoken text. At times he even asked, ‘We’re good?’ before

in Street theatre and the production of postindustrial space