Advertisement

Thematic Concentrations: My Research World

  • Diane CharlesonEmail author
Chapter

Abstract

In order to be fully successful and sustainable, researchers need to address areas such as ontology and epistemology. With such an understanding, practitioners will ensure that the filmmaking practice is academically rigorous and has full integrity. They need to look inwardly in order to be able to articulate the tacit. What and why are they interested in what they are researching? In order to answer these questions, I examined my own research. As a result of this examination, I have defined five main areas of interest for me that are pivotal to my work. Central to these is the agency of the importance of family stories and photographs and the impact these have had on me as a filmmaker. This interest is inextricably linked with notions of memory and remembering and how these processes have been represented visually. Importantly for my practice has been a fascination with Super 8 film as a medium, in particular in the form of found home movies that I use extensively in my practice. In this chapter, I contextualize these themes which are at the heart of my research and which permeate the book.

Bibliography

  1. Alea, N., and S. Bluck. “I’ll Keep You in Mind: The Intimacy Function of Autobiographical Memory.” Applied Cognitive Psychology 21, no. 8 (2007): 1091–1111.CrossRefGoogle Scholar
  2. Barthes, R. Camera Lucida: Reflections on Photography. London: Vintage, 2000.Google Scholar
  3. Bluck, Susan, Nicole Alea, Tilmann Habermas, and David Rubin. “A Tale of Three Functions: The Self-Reported Uses of Autobiographical Memory.” Social Cognition 23, no. 1 (2005): 91–117.CrossRefGoogle Scholar
  4. Cambridge Super 8 Film Festival, “Flicker: Artists and Super 8”. UK, 2015. Available at http://www.cambridge-super8.org/archives/flicker-artists-super-8/. Accessed August 10, 2015.
  5. Charleson, D. “Modern Icons: Aura and Memory in Super 8 Still Frames.” Visual Resources 32, no. 1–2 (2016): 169–188.CrossRefGoogle Scholar
  6. Chasiotis, Athanasios, Michael Bender, Florian Kiessling, and Jan Hofer. “The Emergence of the Independent Self: Autobiographical Memory as a Mediator of False Belief Understanding and Sociocultural Motive Orientation in Cameroonian and German Preschoolers.” Journal of Cross-Cultural Psychology 41, no. 3 (2010): 368–390.CrossRefGoogle Scholar
  7. Cherry, P. Screen Language from Film Writing to Filmmaking. Great Britain: Methuen, 2001.Google Scholar
  8. Conway, J. K. When Memory Speaks: Reflections on Autobiography. New York: Alfred A. Knopf, 1998.Google Scholar
  9. Cox, Paul. Man of Flowers. Directed by C. Paul. Australia, 1983.Google Scholar
  10. Crotty, M. The Foundations of Social Research: Meaning and Perspective in the Research Process. St Leonards, NSW: Allen & Unwin, 1998.Google Scholar
  11. Elliott, A. Concepts of the Self. 3rd ed. Cambridge: Polity Press, 2014.Google Scholar
  12. Fox, W. “Fred Davis”: Yearning for Yesterday (Book Review). Chapel Hill: University of North Carolina Press, 1981.Google Scholar
  13. Gibson, R. Remembrance and the Moving Image. Melbourne, 2002. Available at https://2015.acmi.net.au/exhibitions/past-exhibitions/2003/remembrance-plus-the-moving-image/. Accessed November 12, 2018.
  14. Gondry, M. Eternal Sunshine of the Spotless Mind. Glendale, CA: Dreamworks, 2004.Google Scholar
  15. Haaken, J. Memory, Narrative, Identity: Remembering the Self. Abingdon: Taylor & Francis, 2001.Google Scholar
  16. Habermas, Tilmann, and Christin Köber. “Autobiographical Reasoning in Life Narratives Buffers the Effect of Biographical Disruptions on the Sense of Self-Continuity.” Memory 23, no. 5 (2014): 1–1.CrossRefGoogle Scholar
  17. Ishizuka, K. L., and P. R. Zimmermann. Mining the Home Movie Excavations in Histories and Memories. Berkeley: University of California Press, 2008.Google Scholar
  18. Kearney, Richard. On Stories. London and New York: Routledge, 2001.Google Scholar
  19. Kerrigan, S. “A ‘Logical’ Explanation of Screen Production as Method-Led Research.” In Screen Production Research: Creative Practice as a Mode of Enquiry, edited by C. Batty and S. Kerrigan, 11–27. Cham: Springer International Publishing, 2018.Google Scholar
  20. Kuhn, A. Family Secrets: Acts of Memory and Imagination. London and New York: Verso, 1995.Google Scholar
  21. Meissner, W. Handbook of Experimental Existential Psychology. New York, 2007.Google Scholar
  22. Middleton, David, and Steve D. Brown. The Social Psychology of Experience Studies in Remembering and Forgetting. London: Sage, 2005.Google Scholar
  23. Nicholson, H. N. “Seeing How It Was? Childhood Geographies and Memories in Home Movies.” Area 33, no. 2 (2001): 128–140.CrossRefGoogle Scholar
  24. Nolan, C. Memento. Directed by N. Christopher. United States, 2001.Google Scholar
  25. Pink, S. “Amateur Photographic Practice, Collective Representation and the Constitution of Place.” Visual Studies 26, no. 2 (2011): 92–101.CrossRefGoogle Scholar
  26. Resnais, A. Hiroshima Mon Amor. Directed by Alain Resnais. France, 1959.Google Scholar
  27. Singer, Jefferson A., Pavel S. Blagov, Meredith Berry, and Kathryn Oost. “Self‐Defining Memories, Scripts, and the Life Story: Narrative Identity in Personality and Psychotherapy.” Journal of Personality 81, no. 6 (2013): 569–582.CrossRefGoogle Scholar
  28. Sontag, S. On Photography. London: Penguin, 2008.Google Scholar
  29. Trigg, F. “Bourgeois Dictionaries/Meanwhile Somewhere.” Remembrance and the Moving Image, 2002.Google Scholar
  30. Wildschut, Tim, Constantine Sedikides, Jamie Arndt, and Clay Routledge. “Nostalgia: Content, Triggers, Functions.” Journal of Personality and Social Psychology 91, no. 5 (2006): 975–993.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  1. 1.School of Arts (Media)Australian Catholic UniversityFitzroyAustralia

Personalised recommendations