Poetic inquiry and/as theatre audience research

2022 ◽  
pp. 189-202
Author(s):  
Monica Prendergast
Author(s):  
Chris Perriam ◽  
Darren Waldron

This book advances the current state of film audience research and of our knowledge of sexuality in transnational contexts, by analysing how French LGBTQ films are seen in Spain and Spanish ones in France, as well as how these films are seen in the UK. It studies films from various genres and examines their reception across four languages (Spanish, French, Catalan, English) and engages with participants across a range of digital and physical audience locations. A focus on LGBTQ festivals and on issues relating to LGBTQ experience in both countries allows for the consideration of issues such as ageing, sense of community and isolation, affiliation and investment, and the representation of issues affecting trans people. The book examines films that chronicle the local, national and sub-national identities while also addressing foreign audiences. It draws on a large sample of individual responses through post-screening questionnaires and focus groups as well as on the work of professional film critics and on-line commentators.


2010 ◽  
Vol 4 (1) ◽  
pp. 239-253
Author(s):  
Sean Wiebe

In this paper I explore the connection between a/r/tography and poetic inquiry, and how together they cultivate multiple ways of understanding. I further claim that classroom situations are most provocative of thoughtfulness and critical consciousness when each student participates in the classroom conversation from his or her lived situations. While difficult, teachers who can facilitate rich interchanges of dialogue within a plurality of voices are genuinely creating communities of difference and thus imagining real possibilities for social change.


Author(s):  
Gioia Chilton ◽  
Patricia Leavy

Arts-based research (ABR) is a rapidly growing methodological genre. Arts-based research adapts the tenets of the creative arts in social research to make that research publicly accessible, evocative, and engaged. This chapter provides a retrospective and prospective overview of the field, including a review of some of the pioneers of arts-based research, methodological principles, and robust examples of arts-based research in different artistic genres. We include literary forms such as poetic inquiry and fiction, performative forms such as playbuilding, ethnodrama, ethnotheater and film, and visual forms such as photography, collage, art journaling, and mixed media. We note researches also use multiple art forms, and evolving and innovative forms of art. We provide suggestions for (contested) assessment criteria, such as utility, aesthetics, authenticity and valuing participatory and transformative approaches. The chapter closes with our thoughts regarding the future of the field, which includes ABR’s potential to improve public scholarship.


2021 ◽  
pp. 153270862110104
Author(s):  
Marina Basu

How might one situate oneself in and respond to research literature in a way that does not assume traditional humanist research paradigms? In response, I engage in poetic inquiry through my readings of certain scholarly articles published in the field of postqualitative inquiry. I present two of them here, based on two articles that strike a rhythm in me; evocations are created and my voice merges with the existing voices in creating further lines of flight. The poetry helps me attune to inquiry and in turn inquiry is revealed as a sensitive attunement to the rhythms of life.


2020 ◽  
Vol 17 (1) ◽  
pp. 37-48 ◽  
Author(s):  
Florian Mundhenke

Audience research proves that possibilities of interaction in i-docs are often not fulfilled by the user, who is not really part of a ‘work in progress’ (as intended by the makers). With the shift and development of new digital formats (360-degree-films, nonfictional VR experiences, AR apps), the question of the possible interactive potential should be addressed once again. Since VR projects are fully immersive (mostly using head-mounted displays), there is no possible distraction from outside on the one hand. On the other hand, there is a shift from the computer game style aesthetic of early i-docs, with their pure spatial arrangement of events, to a more inclusive digital storytelling modality with the user experiencing his own world-building. This will be discussed with taking into consideration the non-fictional VR experience as a mode of actively combining immersion and storytelling for a satisfactory user experience. Afterwards two very different examples of nonfictional VR production will be presented, and their modalities will be briefly touched; the utilized approach and its user response will be discussed. A look at the future of possible developments concludes the essay.


1998 ◽  
Vol 1 (2) ◽  
pp. 193-217 ◽  
Author(s):  
Sonia Livingstone
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