2,217
Views
1
CrossRef citations to date
0
Altmetric
Articles

Film-making as creative praxis: capturing the intimate side of interculturality

References

  • Ahmed, S. (2014). The cultural politics of emotion. Edinburgh University Press.
  • Ahmed, S. (2017). Living a feminist life. Durham University Press.
  • Anderson, J., & Macleroy, V. (2017). Connecting worlds: Interculturality, identity and multilingual digital stories in the making. Language and Intercultural Communication, 17(4), 494–517. https://doi.org/https://doi.org/10.1080/14708477.2017.1375592
  • Badwan, K., & Hall, E. (2020). Walking along in sticky places: Post-humanist and affective insights from a reflective account of two young women in Manchester, UK. Language and Intercultural Communication, 20(3), 225–239. https://doi.org/https://doi.org/10.1080/14708477.2020.1715995
  • Barrett, E., & Bolt, B. (2010 [2007]) (eds.) Practice as research: Approaches to creative arts enquiry. I.B. Tauris.
  • Bakhtin, M. M. (1981 [1934–1941]). The dialogic imagination (C. Emerson & M. Holquist, Trans.). University of Texas Press.
  • Barad, K. (2007). Meeting the universe halfway: Quantum physics and the entanglement of matter and meaning. Duke University Press.
  • Barbash, I., & Castaing-Taylor, L. (1997). Cross cultural filmmaking: A handbook for making documentary and ethnographic films and videos (Lynne Kirby, Trans.). University of California Press.
  • Barker, J. M. (2009). The factile eye: Touch and the cinematic experience. University of California Press.
  • Bellour, R. (1987). The pensive spectator. Wide Angle, 9(1), 6–10.
  • Blackledge, A., & Creese, A. (2017). Translanguaging and the body. International Journal of Multilingualism, 14(3), 250–268. https://doi.org/https://doi.org/10.1080/14790718.2017.1315809
  • Bolt, B. ([2007] (2010)). The magic is in handling. In E. Barrett, & B. Bolt (Eds.), Practice as research: Approaches to creative arts enquiry (pp. 27–34). I.B. Tauris.
  • Bradley, J., & Harvey, L. (2019). Creative inquiry in applied linguistics: Language, communication, and the arts. In C. Wright, L. Harvey, & J. Simpson (Eds.), Voices and practices in applied linguistics. White Rose University Press.
  • Budach, G., Efremov, D., Loghin, D., & Sharoyan, G. (2020). Making space for learning: Exploring affect in stop-frame-animation. Multilingual digital storytelling, museum artefacts and the arts: Creative pathways to language-and-culture learning. University of London.
  • Busch, B. (2014). Linguistic repertoire and Spracherleben, the lived experience of language. In Working papers in urban languages and literacies (pp. 145). King’s College London.
  • Busch, B. (2017). Expanding the notion of linguistic repertoire: On the concept of Spracherleben – The lived experience of language. Applied Linguistics, 38(3), 340–358. https://doi.org/https://doi.org/10.1093/applin/amv030
  • Byram, M., & Wagner, M. (2018). Making a difference: Language teaching for intercultural and international dialogue. Foreign Language Annals, 51(1), 140–151. https://doi.org/https://doi.org/10.1111/flan.12319
  • Carter, P. (2004). Material thinking: The theory and practice of creative research. Melbourne University Publishing.
  • Cole, A. (2015). Good morning, grade one. Language ideologies and multilingualism within primary education in rural Zambia (Doctoral dissertation). https://era.ed.ac.uk/handle/1842/11684
  • del Rio, E. (2008). Deleuze and the cinemas of performance: Powers of affection. Edinburgh University Press.
  • Deleuze, G., & Guattari, F. (2004 [1987]). A thousand plateaus. Continuum.
  • Harvey, L., McCormick, B., & Vanden, K. (2019). Becoming at the boundaries of language: Dramatic Enquiry for intercultural learning in UK higher education. Language and Intercultural Communication, 19(6), 451–470. https://doi.org/https://doi.org/10.1080/14708477.2019.1586912
  • Hall, S. (1996). Cultural identity and diaspora. In J. Rutherford (Ed.), Identity, community, culture and difference (pp. 36). Lawrence and Wishart.
  • Harper, D. (2019). Online etymological dictionary. Available at: https://www.etymonline.com
  • Haseman, B. (2010 [2007]). Rupture and recognition: Identifying the performative research paradigm. In E. Barrett, & B. Bolt (Eds.), Practice as research: Approaches to creative arts enquiry (pp. 147–158). I.B. Tauris.
  • Haseman, B., & Mafe, D. ([2009] (2010). Acquiring know-how: Research training for practice-led researchers. In H. Smith, & R. Dean (Eds.), Practice-led research, research-led practice in the creative arts (pp. 211–228). Edinburgh University Press.
  • Hickey Moody, A., & Page, T. (2015). Arts, pedagogy and cultural resistance. Rowman and Littlefield.
  • Ingold, T. (2016). Lines: A brief history. Routledge.
  • Irigaray, L. (1974 [1985]). Speculum of the other woman (Gillian Gill, Trans.). Cornell University Press.
  • Irigaray, L. (2002 [1985]). To speak is never neutral (Gail Schwab, Trans.). Continuum.
  • Irigaray, L. (1993 [1984]). An ethics of sexual difference (Carolyn Burke and Gillian Gill, Trans.). Athlone Press.
  • Lindner, K. (2012). Situated bodies, cinematic orientations: Film and (queer) phenomenology. In: Saer, B. and Higbee, W. (eds.) De-westernizing film (pp. 152–165). Routledge.
  • MacDougall, D. (2006). The corporeal image: Film, ethnography, and the senses. Princeton University Press.
  • MacLure, M. (2013). Researching without representation? Language and materiality in post-qualitative methodology. International Journal of Qualitative Studies in Education, 26(6), 658–667. https://doi.org/https://doi.org/10.1080/09518398.2013.788755
  • Marks, L. U. (2000). The skin of the film: Intercultural cinema, embodiment, and the senses. Duke University Press.
  • Marks, L. U. (2002). Touch: Sensuous theory and multisensory media. University of Minnesota Press.
  • McMahon, L. (2012). Cinema and contact: The withdrawal of touch in Nancy, Bresson, Duras and Denis. Legenda.
  • Mulvey, L. (2006). Death 24x a second: Stillness and the moving image. Reaktion Books Ltd.
  • Muncey, T. (2010). Creating auto-ethnographies. Sage.
  • Naficy, H. (2001). An accented cinema: Exilic and diasporic filmmaking. Princeton University Press.
  • Nelson, R. (2013). Practice as research in the arts: Principles, protocols, pedagogies, resistances. Palgrave Macmillan.
  • Pennycook, A. (2018). Posthumanist applied linguistics. Applied Linguistics, 39(4), 445–461. https://doi.org/https://doi.org/10.1093/applin/amw016
  • Phipps, A. (2019). Decolonising multilingualism: Struggles to decreate – Writing without borders. Multilingual Matters.
  • Phipps, A., & Guilherme, M. (2004). Introduction. In A. Phipps, & M. Guilherme (Eds.), Critical pedagogy: Political approaches to language and intercultural communication. Multilingual Matters Ltd.
  • Pink, S. (2015). Doing visual ethnography. Sage.
  • Rifeser, J. (2021a). The feminine body, touch and violence: A reading of Shirin Neshat’s Women Without Men (Zanan-e Bedun-e Mardan, 2009) and Claudia Llosa’s The Milk of Sorrow (La teta asustada, 2009). Free Associations: Psychoanalysis and Culture, Media, Groups, Politics. Number 81. Spring 2021. https://doi.org/https://doi.org/10.1234/fa.v0i81-82.389
  • Rifeser, J. (2020a). Feminist ‘pensive-creative praxis’ and irigaray: A porous, dialogical encounter. In A. Piotrowska (Ed.), Creative practice research in the time of neo-liberal hopelessness (pp. 242–257). Edinburgh University Press. https://www.jstor.org/stable/10 .3366/j.ctv1453k59
  • Rifeser, J. (2020b). Feminine desire in Claudia Llosa’s The Milk of Sorrow (2009) and Shirin Neshat’s Women Without Men (2009) in dialogue with Irigaray’s philosophy of the caress. Comparative Cinema (pp. 25–40).
  • Ros i Solé, C. (2016). The personal world of the language learner. Palgrave. https://doi.org/https://doi.org/10.31009/cc.2020.v8.i15.03
  • Ros i Solé, C. (2022). The textures of language: An autoethnography of a gloves collection. In V. Lytra, C. Ros i Solé, J. Anderson & V. Macleroy. Liberating language education (pp. 143–159). Multilingual Matters.
  • Ros i Solé, C. (2020). Lived languages: Ordinary collections and multilingual repertoires. International Journal of Multilingualism. https://doi.org/https://doi.org/10.1080/14790718.2020.1797047. http://research.gold.ac.uk/id/eprint/29172/
  • Ros i Solé, C., Fenoulhet, J., & Quist, G. (2020). Vibrant identities and finding joy in difference, In C. Ros i Solé, J. Fenoulhet and G. Quist. (Ed.). Vibrant identities: Vitalism, post-humanism and materiality. Special Issue of the Journal of Language and Intercultural Communication 20 (5).
  • Sachs, O. (2017). The river of consciousness. Picador.
  • Salazar, d. C.,. M. (2013). A humanizing pedagogy: Reinventing the principles and practice of education as a journey toward liberation. Review of Research in Education, 37(1), 121–148. https://doi.org/https://doi.org/10.3102/0091732X12464032
  • Scott, J. (2016). Intermedial praxis and practice as research: ‘Doing-thinking’ in practice. Palgrave Macmillan UK.
  • Shaviro, S. (1993). The cinematic body. University of Minnesota Press.
  • Smythe, S., Hill, C., MacDonald, M., Dagenais, D., Sinclair, N., & Toohey, K. (2017). Disrupting boundaries in education and research. Cambridge University Press.
  • Sobchack, V. C. (1992). The address of the eye: A phenomenology of film experience. Princeton University Press.
  • Sobchack, V. C. (2004). Carnal thoughts: Embodiment and moving image culture. University of California Press.
  • Tordzro, G. K. (2018). Story storying and storytelling; A reflection on documentary film, music and theatre as creative arts research practice. PhD Creative Arts Production Practice Based Reflection, University of Glasgow, Glasgow. http://theses.gla.ac.uk/8941/1/2017Tordzrophd.pdf.