717
Views
0
CrossRef citations to date
0
Altmetric
Articles

Pushing the boundaries: creativity and constraint in Australian screen production

ORCID Icon & ORCID Icon

References

  • Bacon, Henry. 2014. “Nordic Practices and Nordic Sensibilities in Finnish–Swedish Co-Productions: The Case of Klaus Härö and Jarkko T. Laine.” Journal of Scandinavian Cinema 4 (2): 99–115. doi:10.1386/jsca.4.2.99_1.
  • Baugh, Michael. 2010. ‘Perspective Magazine’, March 2010.
  • Caldwell, John Thornton. 2008. Production Culture: Industrial Reflexivity and Critical Practice in Film and Television. North Carolina: Duke University Press. http://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=1169907.
  • Chan, Janet, Jasmine Bruce, and Roanna Gonsalves. 2015. “Seeking and Finding: Creative Processes of 21st Century Painters.” Poetics 48: 21–41. doi:10.1016/j.poetic.2014.11.001.
  • Commis, Andrew. 2017. Girl Asleep- Cinematographer Interview by Juliet John.
  • Csikszentmihalyi, Mihaly. 2014. The Systems Model of Creativity The Collected Works of Mihaly Csikszentmihalyi. Dordrecht: Springer Netherlands.
  • Cunningham, James. 2018a. ‘On the Set of “Friday on my Mind” With Cinematographer Simon Chapman ACS’. Australian Cinematographer Magazine, 1 March 2018.
  • Cunningham, James. 2018b. ‘Behind the Camera on ABC Miniseries “Riot” with Cinematographer Martin McGrath ACS’. 1 June 2018. https://acmag.com.au/2018/06/01/riot/.
  • Deloitte Access Economics. 2018. ‘Screen Production In Australia: Independent Screen Produciton Industry Census 2018’. Screen Producers Australia.
  • Eckersley, Julie, and Juliet John. 2018. Glitch- Producer.
  • Elliott, Bonnie. 2016. Letter to Glendyn Ivin. ‘Happy New Year!’, 20 January 2016.
  • Fairwork Australia. 2009. ‘Fairwork Informaiton Statement National Employment Standards’. Australian Government.
  • Ford, Jo. 2017. Seven Types of Ambiguity- Designer Interview by Juliet John.
  • Getzels, Jacob W., and Mihaly Csikszentmihalyi. 1976. The Creative Vision: A Longitudinal Study of Problem Finding in Art. New York: Wiley.
  • Halligan, Fionnuala. 2013. Filmcraft: Production Design. Burlington, MA: Focal Press. http://site.ebrary.com/id/10731960.
  • Hesmondhalgh, David, and Sarah Baker. 2010. Creative Labour: Media Work in Three Cultural Industries. London: Taylor & Francis Group. http://ebookcentral.proquest.com/lib/latrobe/detail.action?docID=614701.
  • Hjort, Mette. 2012. Film and Risk. Contemporary Approaches to Film and Media Series. Detroit: Wayne State University Press.
  • John, Juliet. 2019. Interview with an Australian Production Designer.
  • Kennedy, Chris. 2019. Letter to Juliet John. ‘Lambs of God- Production Design’, 12 December 2019.
  • Kerzel, Justin. 2019. The True History of the Kelly Gang. Feature Film.
  • Kurzel, Justin. 2018. The True History of the Kelly Gang- Director Interview by Juliet John.
  • Mayer, Vicki, Miranda J. Banks, and John Thornton Caldwell. 2009. Production Studies. [Electronic Resource] : Cultural Studies of Media Industries. New York : Routledge.
  • McMicking, Germain. 2017. Berlin Syndrome- Cinematographer Interview by Juliet John.
  • Meyers, Nick. 2020. Interview with Australian Film Editor Nick Meyers Interview by Juliet John.
  • Mortensen, Mette, and Eva Novrup Redvall. 2012. “Film and Media Production: Creativity, Convergence and Collaboration.” Northern Lights: Film and Media Studies Yearbook 10 (1): 3–8. doi:10.1386/nl.10.1.3_7.
  • MPPA & SPA. 2020. ‘Motion Picture Production Agreement (MPPA) Full Summary’. MEAA. https://www.meaa.org/download/mppa-summary-2020/.
  • Munt, Alex. 2008. ‘“Am I Crazy to Make a Film for Only $100,000 or Am I Crazy Not to?” Kriv Stenders Goes Micro-Budget Digital for Boxing Day’. Senses of Cinema (blog). 16 March 2008. http://sensesofcinema.com/2008/australian-cinema-46/kriv-stenders-boxing-day/.
  • Negus, Keith, and Michael Pickering. 2000. “Creativity and Cultural Production.” International Journal of Cultural Policy 6 (2): 259–282. doi:10.1080/10286630009358124.
  • Petrie, D. J. 1991. Creativity and Constraint in the British Film Industry. New York: Palgrave Macmillan UK.
  • Philipsen, Heidi. 2009. “Constraints in Film Making Processes Offer an Exercise to the Imagination - A Pleading Based on Experiences From Denmark.” Seminar.Net 5 (1): 1–17.
  • Redvall, Eva Novrup. 2012. “A Systems View of Film-Making as a Creative Practice.” Northern Lights: Film and Media Studies Yearbook 10 (1): 57–73. doi:10.1386/nl.10.1.57_1.
  • Salt, Barry. 1983. Film Style and Technology: History and Analysis. London: Starword.
  • Stenders, Kriv. 2007. Boxing Day.
  • Sternberg, Robert J., and Todd I. Lubart. 1998. “‘The Concept of Creativity: Prospects and Paradigms’.” In Handbook of Creativity, edited by Robert J. Sternberg, 3–15. Cambridge: Cambridge University Press. doi:10.1017/CBO9780511807916.003.
  • Stratton, David. 2015. David Lynch In Conversation. https://www.youtube.com/watch?v=jGd6lnYTTY8.
  • Veysey, Kirsten. 2018. True History of the Kelly Gang- Hair and Make-Up Designer Interview by Juliet John.
  • Walker, Jeffrey. 2017. Dance Academy.
  • Walker, Jeffrey. 2018. Riot. TV Movie.
  • Yuille, Darcy. 2019. ‘Interview with “Vice” Cinematographer Greig Fraser ACS ASC – Australian Cinematographer Magazine’, 1 March 2019. https://acmag.com.au/2019/03/01/vice/.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.