Filmmaking Process Research Articles

The Kinomatics Australian Film Production Dataset: A Curated Dataset Describing Australian Feature Film Titles and Personnel 1975–2022

Abstract This article presents a novel, extensive, and thoroughly documented dataset describing Australian feature films and the personnel filling ten key production roles on those films. The dataset is curated from public information in multiple sources and draws on further supplemental resources to verify, validate and consolidate this information. In total, the data describes 22,720 roles filled by 9,397 distinct people across 1,877 films, covering an important 47-year period in the Australian film industry. The authors outline how the dataset solves several problems for scholars interested in data that provides a historical record of the collaborative filmmaking process. In particular, to address concerns about known coverage problems with popular sources such as the Internet Movie Database, this dataset has undergone extensive manual checking to ensure that it is reliable as a source of information on a national film industry. Moreover, the authors have carefully and manually linked each person appearing in the dataset, which allows the dataset to provide a rich source of information for exploring the relationality of filmmaking collaborations. The inclusion of ten key filmmaking roles further expands the utility of the dataset beyond existing datasets which tend to focus on actors and/or directors, writers and producers.

Documenting the air

The air sustains, connects and conditions our lives and has been of growing relevance to social scientists adopting an atmospheric approach to social life. Nonetheless, in screen studies, air’s critical uptake has so far been limited to narrative cinema, leaving it undertheorized in non-fiction filmmaking. In this paper, I introduce theories of the air that flow from the broader rise of atmospheric socio-aesthetic theories and suggest that it is possible to understand the air as an agent in the relationship between a filmmaker and their practice, and the film and its viewers. To make this argument, I first present a theoretical orientation to air as it is implicated in the non-fiction filmmaking process, before considering how the air has been understood in film scholarship, and how it has been taken as a subject of filmmakers working in experimental traditions. I then consider two bodies of non-fiction filmmaking through this aethereal lens. The first is Margaret Tait and her concept of ‘breathing’ with the camera, and the second is Arwa Aburawa and Turab Shah’s And Still, It Remains (2023). In these analyses, I argue that thinking aethereally allows us to consider the co-construction of documentarian, document and viewer.

On Academic Filmmaking as a “Messy” Methodology

How would you make a documentary, stranded in your house, in the middle of a global pandemic? What happens to your project, and what happens to the filmmaker-researcher? On the eve of the global Covid-19 pandemic, I returned from Melbourne to Istanbul to begin filming the documentary which is the practical side of my Ph.D. project on the filmmaking methodologies of contemporary female filmmakers from Turkey. When the outbreak of the pandemic locked the world inside their houses, I turned my house into a studio and started using things I found in the house as my equipment, such as the projector, phones, and books as tripods. My friend turned into a cinematographer, and we learned how to use a 4K video recorder from YouTube tutorials. We filmed the live interviews with the female filmmakers that took place over Skype. The film ended up reflecting the experience of making a film under the pandemic conditions. In this article, I will attempt to think through my filmmaking process and understand “mess” as an experimental approach that works even in an academic context.

Participatory wildlife films for primate conservation education in Los Tuxtlas Biosphere Reserve, Veracruz, Mexico

Abstract Audiovisual media has become an integral part of conservation education strategies, with the potential not only to communicate information but also to impact on its viewers perceptions and attitudes towards a particular subject. Despite this potential, few studies have evaluated either the use of film for primate conservation initiatives or the wider impact of participatory film production. Our study evaluates the impact of a participatory documentary film about historic human-primate coexistence in the Los Tuxtlas region, Veracruz, Mexico, to improve people’s knowledge, perception, and attitudes towards the local primate species, Alouatta palliata and Ateles geoffroyi. Our study took place in six rural localities, in four of which a participatory film-making process was undertaken, involving production workshops and public screenings; two localities were intentionally left out as control groups. People’s knowledge, perception, and attitudes towards primates were assessed through randomized sampling using a questionnaire prior (n = 419) and following (n = 223) the presentation of the documentary. Results indicate a minimal but positive shift in participant’s attitudes and perceptions, with statistically significant increases in primate knowledge scores. While the participatory approach offers promise, further exploration and refinement are essential for effective conservation education. The study highlights the need for diverse and locally based perspectives in developing conservation education materials and programs to foster meaningful engagement and drive primate conservation efforts forward.

Investigating the Potential for Collaboration Between Translators and Filmmakers in the Subtitling of Foreign Films

Collaboration between filmmakers and subtitlers should result in subtitles that better reflect filmmakers’ intentions. However, these parties rarely communicate in practice, and not enough research has been conducted to investigate attitudes towards collaboration among both parties. Interviews were conducted with 12 professional subtitlers and eight filmmakers to investigate attitudes to and prior experience of collaborating on subtitles. Attitudes varied between parties. Filmmakers were generally enthusiastic about past collaborations, whereas subtitlers’ opinions were mixed. Some subtitlers noted collaboration helped understand filmmakers’ intent for dialogue. Conversely, others reported input from filmmakers could be overbearing and unhelpful. Some subtitlers doubted filmmakers would be interested in subtitling, despite filmmakers’ largely positive attitudes to collaboration. Both groups expressed concerns about time and monetary costs. Interviewees also indicated concerns about when, in the filmmaking process, collaboration would be most useful, with some disputing the practicality of Romero-Fresco’s (2019) accessible filmmaking model, which includes collaboration from pre-production to post-production. Both parties viewed subtitling as a creative process, which might be facilitated by collaboration, depending on the product being subtitled. Given subtitlers’ higher scepticism towards collaboration, it is likely that an acceptable collaborative model would be subtitler-initiated and limited to post-production, although further research is required. Lay summary Collaboration between filmmakers and subtitlers should result in subtitles that are closer to filmmakers’ intentions. However, these two groups rarely communicate in practice, and not enough research has looked at attitudes towards collaboration among both parties. I interviewed 12 professional subtitlers and eight filmmakers to investigate opinions on the pros and cons of working together during the creation of subtitles. Attitudes differed between the two groups. Filmmakers were generally enthusiastic about past collaborations, whereas subtitlers’ opinions were mixed. Some subtitlers noted collaboration helped them to understand filmmakers’ intent for dialogue. On the other hand, other subtitlers said that input from filmmakers could be overbearing and unhelpful. Some subtitlers doubted filmmakers would be interested in subtitling, despite filmmakers’ largely positive attitudes to collaboration. Both groups expressed concerns about time and money. Interviewees also indicated concerns about when, in the filmmaking process, collaboration would be most useful. Both parties viewed subtitling as a creative process, which might benefit from collaboration, depending on the film or show being subtitled. Given subtitlers’ higher scepticism towards collaboration, it is likely that collaboration between these two groups would work best if it was initiated by the subtitler and limited to the post-production stage, although further research is required.

“My cinema is not diplomatic, it is confrontational”: Decolonial framing of the home in two documentaries by Rosine Mbakam

This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.

Penerapan Dutch Angle Dalam Enggambarkan Emosional Pada Film “Tolong Aku”

Film, as a genre in the world of cinema, offers a short but captivating audiovisual experience. Films have the potential to create creative, entertaining works and have high artistic value. In the filmmaking process, various techniques and elements are used to improve the quality of the final result. Films are able to convey messages and emotions through various means, including dialogue, visuals, music and special effects. This research focuses on the important role of shooting techniques or cameras in film making. One of the techniques taught is Dutch Angle or Dutch Tilt, which involves tilting the camera angle on a vertical or horizontal axis. This technique is often used in the thriller and horror genres to create a dramatic effect on the audience. The film "Help Me" is an interesting case study, utilizing the Dutch Angle to produce emotions such as sadness, fear, anger, and surprise in the audience. The story of this film tells the story of a student named Dinda who is trapped in an organization that adheres to devil beliefs. Through the use of Dutch Angle, the audience is presented with an unstable atmosphere, creating tension and anxiety that blends with the main character's experiences. The aim of making the film "Help Me" is to apply the Dutch Angle technique to arouse the audience's emotions. In this way, the author hopes to strengthen the message and emotional nuances conveyed through this film. This research also aims to provide an overview of how shooting techniques in films can influence the audience's perception and emotions towards the work.

Simulate This! Virtual Production and Cinematic Education with cineDESK

Due to the increased availability of computing power, hybrid image production – combining live-action image components with virtual assets – can now be performed in real-time, enabling filmmakers to seamlessly visualize, manipulate and incorporate digital assets into their shooting process. The related novel workflows are commonly referred to as “Virtual Production”. Here, we focus on the use of Virtual Production techniques for cinematic simulation. In 2020, the Zurich University of the Arts created cineDESK, a simulation tool to facilitate the previsualization of film scenes and stimulate the artistic choices of filmmakers. Using cineDESK, directors, cinematographers and production designers can collaboratively explore how space, light, props and acting are translated into cinematic sequences. In educational settings, students benefit from cineDESK’s capacity to explore specific aspects of the filmmaking process in isolation. cineDESK allows them to repeatedly rework their scenes, rearranging and optimizing camera angles and movements, lighting, production design elements and even the appearance of their (virtual) actors. Thus, cineDESK helps filmmakers to develop an idiosyncratic visual language and make informed aesthetic choices without being overwhelmed by the complexities of a real film shoot.

НИГЕРИЙСКИЙ КИНОСЦЕНАРНЫЙ ТЕКСТ КАК ОТРАЖЕНИЕ КРЕОЛИЗОВАННОЙ РЕАЛЬНОСТИ

The article deals with the peculiarities of script texts within the realm of cinematography, a contemporary art form. The research endeavors to elucidate the primary characteristic features of Nigerian script texts, which undergo creolization towards the norms of British English and local languages and cultures. Screenwriters initiate the filmmaking process by crafting a script text, serving as the essential foundation for directors, actors, stuntmen, costume and makeup designers, as well as editors. Nigerian script texts manifest as creolized texts, distinguished by a notable feature: the detailed inclusion of authorial remarks providing extensive information for future utilization. Each film script embodies a creolized text, contributing to the transformation of structural substance into a new cinematic reality. Nigerian script texts undergo multiple instances of creolization, adapting to the requirements of local languages and cultural peculiarities. The research validates Nigerian script texts as creolized compositions characterized by detailed authorial remarks, shedding light on language-specific features such as grammar transformations resulting in simplification processes. The most prevalent grammar simplification processes entail the consecutive use of nouns and pronouns, a preference for simple verb tenses, and the omission of auxiliary verbs in interrogative and negative sentences. The grammatical alterations observed in Nigerian scripts are attributed to the influence of local languages and Nigerians' aspiration to adhere to local language features, thereby preserving cultural heritage.

Filmmaking as architectural carpentry

Food production is the largest cause of global environmental change. The debate on sustainable agriculture focuses largely on the implementation of new agricultural techniques. The impact of these techniques on agricultural landscapes is not often considered. With the film ‘Tussen de kassen’, I attempt to shift the current debate in a direction that allows consideration of the aesthetic and systemic consequences of the implementation of agricultural techniques on specific landscapes. ‘Tussen de kassen’ examines an innovative and sustainable landscape of greenhouse horticulture. More than a tool to communicate research or annotate site visits, film and filmmaking functioned as architectural carpentry. Meaning that the complete process of filmmaking (including preliminary site visits, editing, etc.) functioned as an unconventional method of knowledge production for an architectural research project. Using ‘Tussen de Kassen’, I illustrate three ways in which filmmaking as architectural carpentry benefits the work of landscape architects whilst examining modern landscapes of food production; As a tool to explore and examine the atmospheres of agricultural landscapes (1) Film is able to convey synaesthetic properties of a landscape. These are properties that belong to multiple sensory fields at once and play a part in generating ‘atmosphere’, the meaning a person assigns unconsciously and almost instantaneously to a space. Film allows viewers to explore the synaesthetic properties behind this initial atmosphere and (re-) examine their subconsciously assigned meanings to space. As a method to explore unexpected entanglements in food production landscapes (2) The (architectural) medium used to analyse a site determines the understanding of that site. Filmmaking demands close engagement with a site, making the filmmaker a participant of the landscape. This results in unexpected discoveries of entanglements between agricultural techniques and other site aspects. As a form of eidetic storytelling for landscapes of the Anthropocene (3) Narrating the functioning and conception of Anthropocenic landscapes in a causal, linear manner is problematic as it leads to ‘undecidability’ and inaction. Film, as an eidetic storytelling tool, combines different types of information (i.e. visual, acoustic, quantifiable, metaphoric, etc.) to mediate multivalent, openended and non-linear narratives for Anthropocenic landscapes. Cover image: Stills from ‘Tussen de Kassen’

Participation Practice in Screenplay Making of "Sapa Ndisit Oh" by Marjo Klengkam Sulam

Sapa Ndisist Oh is the first film made by the people of Kepunduhan Village, Kramat Subdistrict, Tegal Regency, Central Java Province, with filmmaker Marjo Klengkam Sulam as the director. The film received appreciation from the Village Innovation Exchange at the Central Java Provincial Level, organized by the Ministry of Villages, Development of Disadvantaged Regions and Transmigration. Kepunduhan villagers were involved in the making of the film as crew and actors, collaborative work between professionals and the involvement of residents in the filmmaking process industry is a practice of Participation methods. Residents who are unfamiliar with filmmaking techniques are involved in filmmaking directly. Based on this, the research conducted aims to find out the role and form of participation of the Kepunduhan Village community in the process of making the film Sapa Ndisit Oh. The method used is descriptive. The process carried out by researchers is an interview with the director of the film Sapa Ndisit Oh and observation of the film Sapa Ndisit Oh as the object of research. Data analysis techniques in this study go through several stages, data collection, data reduction, data analysis, and conclusions. The results of the research obtained are the initial idea of filmmaking, the role of the Kepunduhan Village Community, and the form of Kepunduhan Village Community Participation in making the film Sapa Ndisit Oh. Participation practices produce films that are more relevant to the context of local communities, which are the result of discussions and interviews with the community. Participation practices can produce films that are more relevant to the context of the local community. The results of the research can be an additional knowledge for academics and professionals in the field of cinema.
 Keywords: Film; Forms of participation; kepunduhan village; screenwriting

The ethnographic B movie: Centering the uncertain, absurd and low quality in collaborative filmmaking

This paper discusses an experimental modality of ethnographic filmmaking that my interlocutor/collaborator and I came to call the ‘ethnographic B movie’. I explore what I mean by the term and describe its use as novel approach to collaborative multimodal research. I argue that this approach – which encourages unprofessionalism, low quality, absurdity and caprice – provides an opportunity to centre research contexts, ontologies and epistemologies on the fringes or margins of conventional anthropological content, thought and context. Through situating the approach within ideas of arts-based research or research-creation the ethnographic B movie becomes a way to take the process of filmmaking as ethnography for the sake of an open and co-imaginative world. In the ethnographic B movie as filmic approach and representational frame, communicable meaning and narrative coherence are substituted for the spirit of co-creation, and interlocutor-driven content.

Scripting Disability as the ‘New’ Bollywood: Pitching, reflecting, researching and negotiating

In this article, I explore the role of screenwriters and dialogue writers within the more extensive filmmaking process of New Bollywood. Drawing on ethnographic data, I foreground the creative tools, research and negotiations that prompt screenwriters to conceptualise and pitch character arcs that feature disability while positioning the writer as central to diversify film genres. By building on scholarship on production cultures, scripting and disability studies, I draw upon factors that navigate the writer’s gaze from non-hereditary filmmaking networks to foreground disabilities in scripts and character arcs in efforts to strategise that they do not classify as reductive pathologisations and supercripping cultures. This article pays close attention to the conditions, identity politics, biases and situated vulnerabilities of writers that shape the assemblages of scripting disability rhetorics. The data from semi-structured interviews, with an explicit focus on three films and their script ideation and production pedagogies, illustrate these interlinkages and insights.

Multiphase and Multistakeholder English Translation Processes Behind Subtitling Chinese Auteur Films

The professional translation processes involved in subtitling Chinese auteur films are under-reported in audiovisual translation literature. The present study investigates the translation processes employed for Chinese films destined for an international audience with a focus on fifth- and sixth-generation directors’ films. These film auteurs depict China’s diverse cultural elements and contemporary social reality, for which English subtitles provide an essential bridge to connect to an international audience. Interview data collected from ten established Chinese-to-English translators/subtitlers, whose names are credited in the selected films, identify two remarkable features of subtitling these contemporary Chinese auteur films: Multiple phases of the translation processes employed across the filmmaking lifespan and multiple stakeholders involved in the wider translation processes beyond translators/subtitlers. Actor-Network Theory is used to elicit interwoven relationships among the various human and non-human actors connected to translating/subtitling activities across different stages of filmmaking. These findings confirm that translating/subtitling is not an isolated post-production task but rather permeates all filmmaking phases. This can be a key factor in contributing to overall quality, which is critical in disseminating subtitled films by some of China’s most celebrated auteurs. Lay summary The international film market has increasingly featured Chinese films, especially the works by established Chinese directors, such as Zhang Yimou, Chen Kaige, Jia Zhangke and Jia Zhangke. Their films reflect China’s cultural conventions and contemporary social reality. English subtitling is the most popular mode of translation to distribute Chinese films among the English-speaking audience. However, little is known about the agents involved in translating the Chinese high-profile films and the translation processes. To fill this knowledge gap, we interviewed ten translators or subtitlers contributing to the translation of the four aforementioned directors. The collected interview data inform us that many other stakeholders (e.g. directors, producers, screenwriters, distributors and subtitle editors) play a role in the shaping of the final English subtitles shown on the screen, and translation of Chinese films takes place throughout the whole filmmaking process (i.e. film development, pre-production, post-production, distribution and exhibition). A sociological framework is adopted to demonstrate the interwoven relationships among the various human (i.e. translators/subtitlers and other stakeholders) and non-human actors (i.e. accompanying materials and translation products) connected to translating/subtitling activities across different stages of filmmaking. It is argued that such a multiphase and multistakeholder process helps to improve the overall quality of Chinese film subtitling.

How Can Digital Storytelling Open Up Spaces for Activist Citizenship Where Young Children Create Stories of Hope and Resilience Across the World?

This article examines how 8-year-old children in a primary school in England develop new understandings of hardship and survival through the process of digital storytelling. The research presented here is part of a larger global literacy ‘Critical Connections Multilingual Digital Storytelling Project’ (2012-ongoing) working across 15 countries (Algeria, Australia, Cyprus, Egypt, England, Germany, India, Italy, Luxembourg, Malaysia, Palestine, Switzerland, Taiwan, Turkey, U.S.A.) in over 36 languages. We build on critical literacy research which argues that in creating texts, such as digital stories, with an ethic of social justice, children have to navigate tensions existing within cultures, languages, and communities. In our research, we look at what happens when children create their own collaborative digital story, interrogating these tensions surrounding ideas and realities of social justice, and decide how to represent their lives and the lives of others. We analyze the filmmaking process and how a class of 8-year-old children create a digital story, A Reflection on Water, for the project. As part of the process of creating their digital story, these children walk around their school playground carrying heavy buckets of water, raise money for Water Aid, create a website, and want children across the world to get clean water. These young children become part of a wider digital storytelling community at a global film festival, and we examine their reflections on the digital story, From my Window- De ma Fenêtre, created by older 10-year-old children in their school. A Ukrainian child joined this class during the project and their digital story shifted to incorporate their collective response to the Ukrainian crisis. In conclusion, we return to the Critical Connections Pedagogical Model and demonstrate collaborative filmmaking can open up spaces for activist citizenship with young children, and stories of hope and resilience.

A Contextual Analysis of Documentary Film as a Product and Tool for Academic Exercise

This paper examines the justifications for using documentary film as a product of academic exercise, using the films "Return of the Biblical Plague: Mosquitoes" and "Bitter Lake" as case studies. Through an analysis of the production and reception of these films, the paper explores how documentary can be used to visually tell stories that follow the replicability of academic research procedures, from the selection of subject matter and site to planning and interviewing subjects to data collection and analysis. The paper also addresses the challenges and ethical considerations associated with using documentary film as an academic exercise, including representation, power, and objectivity issues. Ultimately, the paper argues that documentary films have the potential to enhance academic exercise by providing a compelling, engaging medium through which to explore complex issues and promote critical thinking. The paper is structured into four segments of analysis. The initial segment encompasses the foundational aspects of documentary film production, which involves establishing the core argument and exploring its historical contexts. The subsequent segment delves into research as a reproducible methodology, establishing empirical evidence concerning a particular phenomenon. The third part also examines the essence of the documentary film-making process, accompanied by a comparative analysis juxtaposed with research as a scientific procedural endeavor, including the analysis of two documentary films, "The Biblical Plague" and "Bitter Lake". Using the Auteur film theory, the final segment centers on, culminating in a comprehensive conclusion that substantiates the contention that documentary film-making serves as both a creative output and a valuable tool within the realm of academic exploration.

Shared cinematic experience and emerging technologies: Integrating mixed-reality components for the future of cinema

The enduring appeal of traditional cinema viewing in the face of alternative experiences, including streaming services and emerging technologies, such as extended reality, is rooted in its esthetic, cultural, and social significance. While the psychological appeal of shared cinematic experiences has gained attention in scholarship, there is a need to further explore the potential enhancement of these experiences through the integration of immersive technologies. The communal nature of cinema fosters social connection, especially in a post-pandemic context marked by widespread social isolation. This study highlights the psychological benefits of shared cinematic experiences and emphasizes the next phase of cinematic evolution, which integrates mixed-reality components while retaining the traditional communal and focused viewing experience. By merging physical and virtual elements, mixed reality offers a unique avenue for exploring the intersection of technology and psychology in the context of cinema. In addition, this article addresses practical applications for filmmakers and industry professionals by outlining technical considerations for integrating mixed-reality elements throughout the filmmaking process, from production to distribution and viewing. The integration of mixed-reality components represents a significant step in the evolution of cinema, providing valuable insights into its potential implications for the research community and the film industry.

Robots over humans? The place of artificial intelligence in the pedagogy of art direction in film education

Discourses on artificial intelligence (AI) in the field of art direction have not gained enough attention, although its use is becoming more predominant in the rapidly evolving technologically driven filmmaking world. Largely, AI has taken over various aspects of the filmmaking process from pre-production, and production to postproduction. Apart from its major influence on the role of an art director, the incorporation of AI in filmmaking enhances the functions of producers, screenwriters, directors, cinematographers, editors, sound designers, and animators. This qualitative paper approach rides on a rapid review design based on the selection of scholarly articles drawn from databases such as Google Scholar, Elsevier, IEEEX Xplore, and ACM Digital Library, using artificial intelligence, art direction, and filmmaking as vocabulary for search. It aims to outline the benefits of integration of AI in art direction pedagogy in film education. Also, it highlights the challenges and potential solutions of the integration of AI in art direction pedagogy in film education. The findings of this review show that AI enhances set design and simulates lighting in the creation of film worlds. Also, AI has the ability to create three-dimensional (3D) and realistic complex props rapidly. In addition, AI has the ability to analyze and generate design renderings in costume design and make-up efficiently. Notwithstanding, it brings to the fore that the integration of AI in teaching art direction poses some challenges such as awareness and understanding of tools, as well as ethical implications to data privacy and algorithmic bias. The paper recommends that educational institutions offering film art direction curricula should embrace this technology and equip teachers with the necessary training and support to teach them effectively. Also, the institutions must take measures to control ethical issues and data-driven policies.

Intermediality in Academia: Creative Research through Film

This article provides an overview of the recent flourishing of research and pedagogy in higher education that seeks a greater rapprochement between criticism and creativity, bringing together diverse media, disciplines, and modes of knowledge production and expression. It focuses on transformations in film and screen studies and on the ethical and aesthetic possibilities of conducting creative, intermedial research through filmmaking, drawing on the author’s recent, first-hand experiences of conducting such research through her making of two films about the African women filmmakers Judy Kibinge (from Kenya) and Bongiwe Selane (from South Africa). The author gives specific examples from her filmmaking process to show how she has attempted to unsettle the generic space between documentary filmmaking, curatorial practice, and video-essay making to engage in a collaborative research practice with Kibinge, Selane, and their communities, as well as her research teams. Grounding itself in a decolonial feminist framework, this article draws on the perspectives of a wide range of thinkers and filmmaker scholars to explore ways in which the colonial, patriarchal values that have haunted many academic institutions can be reformed to allow for the envisioning of new futures that will lead to a more self-reflexive, socially just higher education environment.

A Stylistic Analysis of Typography in Ghanaian Movie Montage

The purpose of this research is to undertake a stylistic analysis of the font that is used in Ghanaian film montages. The use of typography is an essential part of the filmmaking process, and it is given a vital part to play in the aesthetic value that is contributed by movie montages. The purpose of this study is to investigate how the audience's perception of the montage's content is affected by typographical decisions such as font type, size, colour, and location. A qualitative analysis of chosen Ghanaian film montages is included as part of the study approach. This analysis makes use of the framework provided by the theories of visual communication and semiotics. According to the conclusions of the study, typography is utilized in Ghanaian movie montages in order to generate visual attention, communicate information, and elicit emotional responses from the audience. The study makes a significant contribution to the academic field of film studies, particularly with regard to the study of African cinema, and sheds light on the significance of typography to the aesthetics of the film.