I went over the handbook section of ethics again this morning and I couldn't get the new BAFTA guidelines out of my head.
Here is the article I am talking about:
http://www.bafta.org/media-centre/press-releases/new-diversity-requirement-film-awards
In short, taken from the article:
From 2019, entries for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer will be accepted if they can demonstrate their film has addressed and improved inclusion and representation in at least two of these areas.
The areas of under-representation the Standards address are all the protected characteristics from the Equality Act 2010, as they pertain to the act. These are gender, gender identity, age, carers (including working parents), pregnancy/maternity, disability, race/ethnicity, religion or belief, sexual orientation and marriage/civil partnerships. The Standards also seek to address under-representation of people from lower socio-economic groups and ensure wide regional participation.
At first I was absolutely delighted with this announcement. It is a big step, as far as I know BAFTA has not taken diversity as a requirement for any of their entries.
After I went to BFI London Film Festival and saw a film together with an upcoming filmmaker we talked about how well the film was made but it raised many questions for us. I found it very odd that an indie film that was very realistic in many areas did only have white people in it. If you look at the ethnicity landscape of the city in which the story took place this is highly unlikely. It raised questions of the filmmakers choices, of her own experiences, the climate she grew up in and how she was 'taught' or conditioned how to tell stories. The film did address a foreigner living in the UK, she was white- European. As a European myself I loved seeing this character represented in an UK film, as most British films do not recognise all the European emigrants living and working in the UK and take that as a given, rather than making that the focus or 'problem' of the film.
So this film in which I, as a white, European, emigrant living in the U.K. I found myself being represented a bit in this one character. On the other hand, she had a completely different experience in the U.K in terms of diverse landscape as the people in my life are a lot from under-represented areas. And that aspect made the film leave a bitter taste. I mentioned the new requirements for BAFTA to my colleague and she said that the rules only were enforced for the upcoming season, and that this film could still qualify. I went over the article again and more questions came up: Why does this only apply to two categories? Why only two out of the four areas? (these are the areas: A: On-screen representation, themes & narratives
B: Project leadership & creative practitioners
C: Industry access & opportunities
D: Opportunities for diversity in audience development)
It was a reminder for me as a filmmaker that awareness for all under-represented people is important. I am focusing myself a lot on sexism and racism in my film making journey but why not look at disability and gender identity?
It would be great to hear your thoughts on representation in art and on the new submission requirements for BAFTA.
Tuesday, November 6, 2018
Monday, October 29, 2018
Thoughts on: A Handbook Of Refelctive And Experiental Learning - J. A. Moon
If you want to read the book but have not got your hands on it yet, this is a summary of my thoughts and collection of knowledge on it so far.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
How to stay logged in and be able to comment
Hello!
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
Saturday, October 20, 2018
Inspiration and reflection BFI London Film Festival 2018
My week at the BFI London Film Festival has ended. What an abundance of input. I feel like all emotions have been pulled out of me and I'm left empty, but fulfilled and confused in the best sense of the word. Confused of what my opinion is of every film. It is THE conversation starter during every networking event; 'What is your favourite film? What did you think of....?' Like films and art can be rated so black and white and on a list. Some films touched me more than others, but is a film deemed only good when it touches you? I feel like some films will stay with for a while and will take time to sink in and for me to make sense of them. They might become meaningful to me over time, or not. Some films felt healing, like 'Beautiful Boy', as it really hit home for me. While others felt like they ripped open a wound ('A Private War') and now I have all this blood gushing out of it and I don't know what to do with it. If I should try and put the bandage on again (will it still stick?), or let it open and hope that over time it will heal, not leaving any scars?
'Soni' made me feel so powerful and strong while 'Roma' and 'A Private War' (I've seen it this morning so it's on my mind still a lot) left me feeling absolutely hopeless.. wanting to make a change but not knowing how or where to start. It makes me talk about it with anyone I meet, directing the conversation from just the film to what is happening in this world around us and what influence we have on it.
'Only You' inspired me as an actor and made me scared at the same time, Laia Costa is just so good. Her freedom, grounded use of her voice and accessible emotions are what I strive towards in my acting. I can't wait to use the end 'breakup' scene in my own class to see how I can explore this text. She is a big improvisor as seen in her wonderful film 'Victoria', and after during the Q&A I asked the Director Harry Wootliff how much of the dialogue came together on set and how much was scripted. She said 95% was scripted, but that indeed Laia had a urge to improvise a lot.
I loved seeing 'The Kindergarten Teacher' as it explores for me the difference between intention and action. Does it matter if you do bad things with a good intention? Do we have a responsibility towards art or towards humans? And what makes someone a 'good' or 'bad' person? I was lucky enough to be at the Screentalk with Maggy Gyllenhaal who stars and produced the film, a direction I hope to focus on with this degree. It was great to hear how she reflected on the past roles in her life.
I look forward to reading the books 'Educating the reflective practitioner' and 'A handbook of reflective and experiential learning: theory and practice' and reflect further on this film festival.
'Soni' made me feel so powerful and strong while 'Roma' and 'A Private War' (I've seen it this morning so it's on my mind still a lot) left me feeling absolutely hopeless.. wanting to make a change but not knowing how or where to start. It makes me talk about it with anyone I meet, directing the conversation from just the film to what is happening in this world around us and what influence we have on it.
'Only You' inspired me as an actor and made me scared at the same time, Laia Costa is just so good. Her freedom, grounded use of her voice and accessible emotions are what I strive towards in my acting. I can't wait to use the end 'breakup' scene in my own class to see how I can explore this text. She is a big improvisor as seen in her wonderful film 'Victoria', and after during the Q&A I asked the Director Harry Wootliff how much of the dialogue came together on set and how much was scripted. She said 95% was scripted, but that indeed Laia had a urge to improvise a lot.
I loved seeing 'The Kindergarten Teacher' as it explores for me the difference between intention and action. Does it matter if you do bad things with a good intention? Do we have a responsibility towards art or towards humans? And what makes someone a 'good' or 'bad' person? I was lucky enough to be at the Screentalk with Maggy Gyllenhaal who stars and produced the film, a direction I hope to focus on with this degree. It was great to hear how she reflected on the past roles in her life.
I look forward to reading the books 'Educating the reflective practitioner' and 'A handbook of reflective and experiential learning: theory and practice' and reflect further on this film festival.
Friday, October 12, 2018
Thoughts after Campus session 12 Aug 2018 -question and answers
Great to meet the lecturers and fellow students today at the campus session.
Many interesting things got said, I'll start sharing a few of them and my own thoughts on them.
We are conditioned to think that every question requires an answer, that this is the natural circle of communication and discovery. And that in order to find an answer one must start with asking the right question. But what if a question leads to something else? To connection with someone (with the same question), to another question, or to a discovery that doesn't answer the initial question?
I also find this very interesting in terms of script writing, when writing a dialogue and someone asks a question it is not uncommon that it doesn't get answered in order to create conflict. The person is not listening, not interested, does not want to answer the question, or asks another question in return. Why do we do this and how does it serve us in a dialogue?
When making an introduction statement to a new contact, sending of a CV, or writing a bio, we often list what we have done in our lives. A listing of our 'achievements', commitments and engagements over the years. This statement made me think that it perhaps is more a list of choices we have made. We choose to do these things instead of other things that aren't on the list. I am often so focused on getting things done, and achieving, that I forget to look at the things that I end up not doing. It is not always a deliberate choice. Sometimes it serves me as it keeps me very focused but I think sometimes I would be very useful to be aware of why I chose certain things. Is is because it's common to do? Expected? Because it looks cool? I enjoy it? Automatic Pilot? I will experiment this week with thinking about the things that I don't do, and if I want to change perhaps my way and habits or not (yet)?
Many interesting things got said, I'll start sharing a few of them and my own thoughts on them.
Progression from question is an
answer à not necessarily
We are conditioned to think that every question requires an answer, that this is the natural circle of communication and discovery. And that in order to find an answer one must start with asking the right question. But what if a question leads to something else? To connection with someone (with the same question), to another question, or to a discovery that doesn't answer the initial question?
I also find this very interesting in terms of script writing, when writing a dialogue and someone asks a question it is not uncommon that it doesn't get answered in order to create conflict. The person is not listening, not interested, does not want to answer the question, or asks another question in return. Why do we do this and how does it serve us in a dialogue?
We are defined by what we do and
what we don’t do.
When making an introduction statement to a new contact, sending of a CV, or writing a bio, we often list what we have done in our lives. A listing of our 'achievements', commitments and engagements over the years. This statement made me think that it perhaps is more a list of choices we have made. We choose to do these things instead of other things that aren't on the list. I am often so focused on getting things done, and achieving, that I forget to look at the things that I end up not doing. It is not always a deliberate choice. Sometimes it serves me as it keeps me very focused but I think sometimes I would be very useful to be aware of why I chose certain things. Is is because it's common to do? Expected? Because it looks cool? I enjoy it? Automatic Pilot? I will experiment this week with thinking about the things that I don't do, and if I want to change perhaps my way and habits or not (yet)?
Thursday, October 4, 2018
Reflections on Module One focus session questions raised I
Following up on reading Adesola's blog and other on this session I write all my thoughts down in this post. I have tried to comment, but my comments are not saved/posts so I decided to combine all my comments in one post rather than spending hours frustrated trying to find out why this does not work (yet!).
All the questions Adesola asked really speak to me;
-what you have had to do because xyz, what other people have told you are rather than what you see your direction as, the restrictions of work or organizations?
Coming from a musical theatre/dance background where I wasn't allowed in the tap class without red lipstick on, I am now extra interested in what happens when you peel away the layers of 'show' and appearance.
After working at the premiere of 'A Star Is Born' and reading this article:
https://www.vox.com/the-goods/2018/10/2/17929616/lady-gaga-a-star-is-born-no-makeup
I started asking the question on my Instagram account (@lizavandersmissen) :
Do you think authenticity goes hand in hand with wearing no makeup?
43% said yes (mostly men interestingly enough!) and 57% said no (all women)
My thoughts on this are:
-Make up can be used as a way to (literally) wear a mask
-Some people are more authentic when they express themselves through the make-up they wear
-People who don't wear make up can be also inauthentic;
-Authenticity in a person extents beyond make up, and is being expressed by how you show up as an artist, in your day-to-day life and how you honour your truth
-Wearing make up is not linked with being an authentic person
We talked about how we are seeing your practice as fluid... changing as you find yourself in different situations, over time etc. We said practice is not just the title of the job you do, it is deeper including what you value..
I read about this in many other blogs of fellow students. That our professional practise extends our job title. As an artist and creator I think no job title would do your practise justice. As it extends beyond 'a job that is being done'. Your professional practise is how you see the world, show up in the work, and how it occupies your mind. I think that Emma Gannon touches on it beautifully in her book: The Mult-Huyphen Method. It is more focused on having multiple businesses, but it challenges the status-quo of having an identity linked to just one job.
Having trained all my life as a professional dancer, to then leave the professional dance world behind to focus on acting, and since the beginning of 2018 also am producing films (that I co-write!) I find it difficult to describe in one job title what I do or who I am. I see myself as a creator, a creator of film, of characters and of text, and sometimes also of movement. Dance will always be a big part of me and my creative process, whether I do it professionally or not.
All the questions Adesola asked really speak to me;
-what you have had to do because xyz, what other people have told you are rather than what you see your direction as, the restrictions of work or organizations?
Coming from a musical theatre/dance background where I wasn't allowed in the tap class without red lipstick on, I am now extra interested in what happens when you peel away the layers of 'show' and appearance.
After working at the premiere of 'A Star Is Born' and reading this article:
https://www.vox.com/the-goods/2018/10/2/17929616/lady-gaga-a-star-is-born-no-makeup
I started asking the question on my Instagram account (@lizavandersmissen) :
Do you think authenticity goes hand in hand with wearing no makeup?
43% said yes (mostly men interestingly enough!) and 57% said no (all women)
My thoughts on this are:
-Make up can be used as a way to (literally) wear a mask
-Some people are more authentic when they express themselves through the make-up they wear
-People who don't wear make up can be also inauthentic;
-Authenticity in a person extents beyond make up, and is being expressed by how you show up as an artist, in your day-to-day life and how you honour your truth
-Wearing make up is not linked with being an authentic person
We talked about how we are seeing your practice as fluid... changing as you find yourself in different situations, over time etc. We said practice is not just the title of the job you do, it is deeper including what you value..
I read about this in many other blogs of fellow students. That our professional practise extends our job title. As an artist and creator I think no job title would do your practise justice. As it extends beyond 'a job that is being done'. Your professional practise is how you see the world, show up in the work, and how it occupies your mind. I think that Emma Gannon touches on it beautifully in her book: The Mult-Huyphen Method. It is more focused on having multiple businesses, but it challenges the status-quo of having an identity linked to just one job.
Having trained all my life as a professional dancer, to then leave the professional dance world behind to focus on acting, and since the beginning of 2018 also am producing films (that I co-write!) I find it difficult to describe in one job title what I do or who I am. I see myself as a creator, a creator of film, of characters and of text, and sometimes also of movement. Dance will always be a big part of me and my creative process, whether I do it professionally or not.
The Beginning
Hello!
My first blogpost for the full time BA Professional Practice, Arts and Creative Industries (specialisation). I am very excited to start! I could only fully dive in this week as I have been working towards producing and acting in my own film which all came together last week. Now that the filming part is over, I look forward to the next step and to reflect on everything I have learned from it.
But first I wanted to write up a little what I got from the very first Skype introduction call. I joined inbetween session at Bafta Guru Live so my information is not complete but these are my main focuspoints that I got from it:
-Use and discus my study plan in my 1-1 with my supervisor
-With every submission draft I send in I need to send a feedback exchange form with it
-If I want to find books or need help with articles I need to contact Michelle. In the handbook I saw some very interesting reads that I look forward to reading! On top of my list are:
Cameron, J. 1992. The artist's way: a spiritual path to higher creativity, London, Souvenir Press, 1994
Robson, C. 2012. Writing for change: research as public pedagogy and arts-based activism, New York, P. Lang.
Robinson, K. 2001. Out of our minds: learning to be creative, Oxford, Capstone
MacIntyre, A. 1967 (2nd ed.) A Short History Of Ethics. London: Routledge
Tharp, T. and Reiter, M. (2006) The creative habit: learn it and use it for life : a practical guide, 1st Simon & Schuster pbk. ed., New York: Simon & Schuster
I adore reading so if anyone has other useful tips please share!
I loved The Artist Way from Stephen Pressfield.
-I need to sign up in the kortext for a personal email for books and everything else that involves Middlesex University
-The BLOGS and SKYPE discussions serve as a platform to ask questions and to discuss idea's, to challenge each other and grow in the process. It should be a resource for learning. They shouldn't be too long but rather regular and short, focused on stimulating conversations.
-Use the labels to find other resources with the same focus.
My first blogpost for the full time BA Professional Practice, Arts and Creative Industries (specialisation). I am very excited to start! I could only fully dive in this week as I have been working towards producing and acting in my own film which all came together last week. Now that the filming part is over, I look forward to the next step and to reflect on everything I have learned from it.
But first I wanted to write up a little what I got from the very first Skype introduction call. I joined inbetween session at Bafta Guru Live so my information is not complete but these are my main focuspoints that I got from it:
-Use and discus my study plan in my 1-1 with my supervisor
-With every submission draft I send in I need to send a feedback exchange form with it
-If I want to find books or need help with articles I need to contact Michelle. In the handbook I saw some very interesting reads that I look forward to reading! On top of my list are:
Cameron, J. 1992. The artist's way: a spiritual path to higher creativity, London, Souvenir Press, 1994
Robson, C. 2012. Writing for change: research as public pedagogy and arts-based activism, New York, P. Lang.
Robinson, K. 2001. Out of our minds: learning to be creative, Oxford, Capstone
MacIntyre, A. 1967 (2nd ed.) A Short History Of Ethics. London: Routledge
Tharp, T. and Reiter, M. (2006) The creative habit: learn it and use it for life : a practical guide, 1st Simon & Schuster pbk. ed., New York: Simon & Schuster
I adore reading so if anyone has other useful tips please share!
I loved The Artist Way from Stephen Pressfield.
-I need to sign up in the kortext for a personal email for books and everything else that involves Middlesex University
-The BLOGS and SKYPE discussions serve as a platform to ask questions and to discuss idea's, to challenge each other and grow in the process. It should be a resource for learning. They shouldn't be too long but rather regular and short, focused on stimulating conversations.
-Use the labels to find other resources with the same focus.
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