My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:655582 |
| Date | January 2015 |
| Creators | Nelson, Jodi |
| Publisher | University of Sussex |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://sro.sussex.ac.uk/id/eprint/54595/ |
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