References
- 24 Hour Plays. “24 Hour Plays: About.” The 24 Hour Plays., last modified n.d., accessed Apr 13, 2021, https://24hourplays.com/about/.
- Ahn, Soojeong 2012. The Pusan International Film Festival, South Korean Cinema and Globalisation. Hong Kong: Hong Kong University Press.
- Bourdieu, Pierre 1985. “The Social Space and the Genesis of Groups.” Theory and Society 14 (6): 723–744. doi:http://www.jstor.org/stable/657373.
- Browning, Stephen 2018. A New Strategic Approach to the Development of Culture in Portsmouth. London: Arts Council England.
- Casey, Edward S. 1996. “How to Get from Space to Place in a Fairly Short Stretch of Time: Phenomenological Prolegomena.” In Senses of Place, edited by Steven Feld and Keith H. Basso, Vol. School of American Research advanced seminar series, 13–52. Santa Fe, N.M.: School of American Research Press.
- Cattani, Gino, and Simone Ferriani. 2008. “A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry.” Organization Science 19 (6): 824–844. doi:10.1287/orsc.1070.0350.
- Cave, Dylan 2016. “In Focus: What’s Great about UK Short Films?” British Film Council., accessed 13/4/21, https://film.britishcouncil.org/blog/uk-shorts.
- DVMISSION. “DVMISSION 48 Hour Film Challenge.” DVMISSION., accessed Apr 13, 2021, https://www.dvmission.co.uk/.
- Elster, Jon 2000. “Less is More: Creativity and Constraints in the Arts.” In Ulysses Unbound: Studies in Rationality, Precommitment, and Constraints, edited by Jon Elster, 175–269. Cambridge: Cambridge University Press.
- Fleming, Jenny 2018. “Recognizing and Resolving the Challenges of Being an Insider Researcher in Work-Integrated Learning.” International Journal of Work-Integrated Learning 19 (3): 311–320.
- Freeman, Charles 2019. The Creative Network South Creative Industries Declaration. Fareham, Hampshire: Creative Network South.
- Hanney, Roy 2005. “Competence or Capability: Work-Based Learning and Problem-Based Learning.” Journal of Media Practice 6 (2): 105–112. doi:10.1386/jmpr.6.2.73/3.
- Harries, Samuel 2021. “What is DOGME 95.” Movements in Film., accessed Apr 13, 2021, https://www.movementsinfilm.com/dogme-95.
- Hart, Keith 1973. “Informal Income Opportunities and Urban Employment in Ghana.” The Journal of Modern African Studies 11 (1): 61–89. doi:http://www.jstor.org/stable/159873.
- Hjort, Mette 2011. “Small Cinemas: How They Thrive and Why They Matter.” Mediascape 11: 11–15. http://www.tft.ucla.edu/mediascape/Winter2011_SmallCinemas.pdffile:///Users/royhanney/GoogleDrive/Mendeley/Hjort-2010-SmallCinemasHowTheyThriveandWhyTheyMatter.pdf.
- Hjort, Mette, and Duncan J. Petrie. 2007. The Cinema of Small Nations. Edinburgh: Edinburgh University Press.
- Jones, Candace 1996. “Careers in Project Networks: The Case of the Film Industry.” In The Boundaryless Career: A New Employment Principle for a New Organizational Er, edited by Michael Arthur and Denise Rousseau, 58–75. New York & Oxford: Oxford University Press.
- Juhász, Sándor, Gergő Tóth, and Balázs Lengyel. 2020. “Brokering the Core and the Periphery: Creative Success and Collaboration Networks in the Film Industry.” PLoS One 15 (2): e0229436. 10.1371/journal.pone.0229436.
- Karlsen, Joakim, and Anders Løvlie. 2017. “You Can Dance Your Prototype If You Like’: Independent Filmmakers Adapting the Hackathon.” Digital Creativity 28 (3): 224–239. doi:10.1080/14626268.2017.1351992.
- Liz, Langston, and Ruppert Mark. 2021. “Who we are @ 48 Hour Film Project.” 48 Hour Film Project., accessed Apr 13, 2021, https://www.48hourfilm.com/en/about.
- The Perfect Human. 1967. Directed by Jørgen Leth.
- Lobato, Ramon 2012. Shadow Economies of Cinema: Mapping Informal Film Distribution. Basingstoke: Palgrave Macmillan.
- Low, Setha M. 2009. “Towards an Anthropological Theory of Space and Place.” Semiotica 2009 (175): 21–37. doi:10.1515/semi.2009.041.
- Manning, Stephan, and Jörg Sydow. 2007. “Transforming Creative Potential in Project Networks: How TV Movies Are Produced under Network-Based Control.” Critical Sociology 33 (1–2): 19–42. doi:10.1163/156916307X168575.
- McCloud, Scott 2021. “The 24 Hour Comic.” Scott McCloud., accessed 13th April, 2021, http://www.scottmccloud.com/4-inventions/24hr/index.html.
- Mercier, O. Ripeka. 2014. “Film Sport: Constraint and Unrestraint in the 48-hour Film Competition”. New Cinemas Journal of Contemporary Film 12 (3): 191–204. https://doi.org/10.1386/ncin.12.3.191_1.
- Mercier, O. Ripeka, and Challen Wilson. 2013. “Everybody's Putting Their Heart and Soul into That One Weekend’: Six Motivations for Entering the 48-Hour Film Competition.” Studies in Australasian Cinema 7 (1): 61–75. doi:10.1386/sac.7.1.61_1.
- Perry, Kevin 2014. “Exploding Cinema: The DIY Projectors.” The Guardian., last modified -12-06T08:00:11.000Z, accessed Apr 13, 2021, http://www.theguardian.com/film/2014/dec/06/exploding-cinema-guerrilla-projectors.
- Smith, Phil 2011a. Johnnie Oddball 2003-2005 Film Challenges. Online: Lulu.com.
- Smith, Phil 2011b. Jonnie Oddball: The Original Guerrilla Film Maker. Online: Lulu.com.
- Straten-McSparran, Rebecca 2020. “The Five Obstructions.” Image Journal., accessed Apr 13, 2021, https://imagejournal.org/article/the-five-obstructions/.
- The Five Obstructions. 2003. Directed by Lars von Trier.
- Wenger, Etienne, Beverly Trayner, and Maarten de Laat. 2011. Promoting and Assessing Value Creation in Communities and Networks: A Conceptual Framework. Netherlands: Open Universiteit, Ruud de Moor Centrum.