October 2018 FRN Survey Results and Film Register A/Prof Susan Kerrigan, University of Newcastle A/Prof James Verdon, Swinburne University of Technology Dr Joanna Callaghan, University of Sussex FRN AIMS What is needed to improve understanding and consolidate the field of filmmaking research? How can filmmaking research be better defined? How is filmmaking research measured and valued as a research output? What research infrastructure is needed? To better define Filmmaking Research the Network released a survey in 2017. From that data, case studies, an online film register and examiners list, and curated screenings are being created. This PFD presents the survey results for network members and other researchers. Filmmaking Research Network Website 1
CONDUCTING THE FRN SURVEY The FRN online survey was deployed in 2017 over four months in 2017, there were 2 parts to the survey. The first part had 17 questions on filmmaking as research including past professional practices, academic peer-reviewing, PhD supervision and examination, preferred research methodologies, university support for filmmaking as research, and participation in the Examiners Register. The second part, the Film Register, had 26 questions and participants provided information about films they had made as research, which included essential information about films including synopses, taglines, genres, durations, budgets, release dates and reference URL s. The Survey was distributed via FRN email list as well as filmmaking networks and conferences held in 2017 like Sightlines, RMIT, ASPERA, MeCCSA, Nico Carpentier list, UFVA list. WHO COMPLETED THE SURVEY? Survey participants: 168 Survey responses from 112 Universities. 57% male 43% female. 24 Countries UK (63%) Australia (17%) US (9%). 75% of respondents had worked in either film or television industries or both. 14% did not identify with any industry sector, possible these respondents are academics who may have no professional experience as filmmakers. 2
FILMMAKING RESEARCH STATUS Status of Filmmaking Research 85% agreed filmmaking is a research activity, No response was 2% Other responses 11% 66% agree filmmaking status inside universities has improved over the last decade, 23% remained unsure. FILMMAKING RESEARCH SUPPORT Yes - University Supports No - Not Supported N/A Internal research funding 69% 25% 6% Administrative support 48% 44% 8% Dedicated film equipment 69% 25% 5% Studio facilities 65% 24% 12% Technical support 65% 26% 10% 3
EXAMINERS REGISTER 91% of participants wanted to register DOCTORAL COMPLETIONS Participants have supervised 376 PhD s across their academic careers. 54% had Doctoral completions (pie chart) Doctoral Completions 30 61% were currently supervising post-graduates (n=102) 68% supervising PhD Theses (71), 68% supervising PhD in Creative Practice (71), 26% supervising DCA/PhD Professional Doctorate (30). There were 104 academics supervising 125 candidates. 96 172 PhD Thesis PhD Creative Practice DCA or Professional Doctorates 4
POST-GRADUATE EXAMINATIONS 95% of respondents had examined post-graduate works Masters (69%, n=143) PhD (54%, n =118) PhD Creative work (54%, n=117) DCA/Professional Doctorate (10%, n=89) 30% are experienced doctoral examiners having examined multiple theses or Creative Work PhDs. 1 respondent had supervised 16 post-graduate awards 6 others had supervised 7-12 completions. PEER-REVIEW Peer-review activities 58% are active Peer-reviewers 55% for Journals 35% for Conferences 33% for Internal University Review Panels 21% for Industry Awards 18% for a Research Council 5% for an Arts Council 5
METHODOLOGIES Methodologies Research Enquiry Type Practice as Research 40% Practice-Led Research 15% Practice-based research 15% Film and Cinema Studies 13% Screen Production Research 8% Ethnography 8% Action Research 4% Reflective practice 3% No response 5% FILM REGISTER The Film Register received details of 198 films from 130 filmmakers Films made since 2011 = 111 Film released in 2018 = 3 Films made between 2002-2010 = 23 1 film made in 1996 and another in 1984. Some filmmakers provided multiple entries and some working in teams. 46 filmmakers did not enter sufficient detail to capture works and these were then not included (22%) Other Countries were: 1 from the UK and Chile, and 1 each from Ireland, Malta, Netherlands, Switzerland and Zimbabwe. The Film Register will be presented as a LIST of films names. Creating an archive of these films would be another project. 6
FILM REGISTER CREW ROLES Filmmaking Crew Roles 66 films (42%) were made by one filmmaker working in multiple roles 92 films (58%) had other researchers in roles including co-directors, co-screenwriters, coproducers and had Executive Producers, Associate Producers and Professors as academic advisors. 7 filmmakers only declared one crew role. 60 filmmakers (38%) undertook 3 or 4 crew roles Producer/Writer/Director/Editor; Producer/Director/Cinematographer/Editor; Producer/Writer/Director; Producer/Director/Editor 7
FILM REGISTER - DISTRIBUTION Film Distribution: 68 films did NOT list a distributor (47%). 66 films had distribution (53%) with 23 being commercially distributed and 43 self-distributed. FILM REGISTER - WRITTEN OUTPUTS Total Written Outputs 703 for 118 Films 34 9 74 Written research outputs for 118 films 703 total written outputs (including non-ref/era) 358 Conference Proceeding 34 Theses 80 films had NO written output associated 358 228 Thesis 5% Books 1% Book chapters 11% Journal Articles 32% Conf P roceedin gs 51% 8
FILM REGISTER WRITTEN OUTPUTS Written research outputs for 118 films 311 REF/ERA eligible written outputs were listed for 60% of films (books, journal articles and book chapters) Research statements Of152 films, 20% did not submit a research statement. 9 submissions used the film s synopsis as the research statement BUDGETS Source of Film Funding UK Films 102, Australian Films 36 UK - 102 films 2,380 605 Australia - 36 films $1,423,900 25 Country/Type of Funding Amount Films 17 60 UK External funding 1,219,895 60 films UK University Funding 343,240 66 films Australian External Funding $ 742,000 17 films Australian University Funding $ 199,000 25 films 66 UK Films External Funding 60% UK University Funded 62% Australian Films External Funding 47% Australian University Funded 69% 9
BUDGETS AUSTRALIA Type of funding Total Number Average Amount External funding $742,000 17 films $44,000 (average) University Funding $199,000 25 films $ 8,000 (average) Total Film Budgets $1,423,900 36 films $46,000 (average) UK Type of funding Total Number Average Amount External funding 1,219,895 60 films 20,331 (average) University Funding 343,240 66 films 5,200 (average) Total Film Budgets 2,380 605 102 films 23,300 (average) BUDGETS AUSTRALIA 5 films funded externally budgets $500,000 to $150,000. 5 film budgets between $25,000 to $100,000, 7 film budgets between $11,000 and $25,000 15 film budgets under $10,000 or less 9 Australian universities provided $15,000 to $20,000 for films 10 universities provided between $2,000 to $5,000. $40,000 the largest university contribution made to a film s budget. UK 40 films completely funded through external sources 4 film budgets between $900,000 and $180,000 ( 500,000-100,00). 15 film budgets between $45,000 and $135,000 ( 25,000-75,000). 12 film budgets between $18,000 and $45,000 ( 10,000-25,000) 60 film budget range of $18,000 or less ( 10,000) Other budget sources include Crowd funding, patronage and personal loans 10
FILM AWARDS Film Awards and Nominations were listed for 62 films (43%) Persisting Dreams (2015) a 25 minute animated documentary in Italian. Filmmaker Côme Ledésert, ( 1,500). Toni is a fisherman in Lampedusa. Through his testimony, intercut by animation that take him on a journey as forced witness, this documentary invites us to question our perception of migrants in Europe - between our tenacious fantasies, Toni's reality and the persisting dreams of migrants. Selected in over 40 festivals, was screened over 70 times and has won 4 awards. No academic publications as yet. Camrex (2015) a 13-minute documentary. Filmmaker Mark Chapman. Camrex House is a notorious homeless hostel that for 40 years has upheld a fearsome reputation. Its skewed, in-house morality perpetuated by men with complex histories. Based on interviews with hostel residents, Nominated for 30 international film awards. A journal article and a conference proceeding published. Orchids: My Intersex Adventure (2011) 60 minute documentary. Filmmaker Phoebe Hart, ($AU170,000) Follows documentary filmmaker, Phoebe Hart, as she comes clean on her journey of self-discovery to embrace her future and reconcile the past shame and family secrecy surrounding her intersex condition. Best Documentary at the 2010 ATOM Awards; 2010 Brisbane International Film Festivalbest film by popular vote. 2012 Australian Directors Guild Awards - Best Direction in a Documentary (Stand Alone). Received a Samsung AACTA/AFI Awards 2012 Nomination for Best Documentary Under One Hour. 21 other awards for best documentary at numerous international film festivals., 1 Thesis, 9 conference proceedings, 3 book chapters and 5 journal articles. MORE INFORMATION ON THE WEBSITE GO TO: www.filmmakingresearch.net 11