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Looking back at MERJ editorials since then, our position has remained constant: It is now easy to forget that in there were consortia, covering 95 local authorities.

The pilots began in , and a further were approved in the following 12 months. At the same time, OFCOM were funding and supporting media literacy education, albeit with a regulatory premise. The perennial internal dissensus amongst the community of practice over the falsely polarised academic and vocational modalities aside, these were good times for media education.

The exam board EdExcel was also very critical, but 11, students did sign up, growing to 40, in This current administration, unlike the previous one, does not shy away from large-scale reform of GCSEs and A-Levels either, but in order to re- establish canons and hierarchies, not challenge them for a more progressive and inclusive alternative as Tomlinson had proposed.

We are not alone. The events are well known to media educators. The Prime Minister, David Cameron, however, was reluctant to do so, preferring to ask newspaper editors to come up with their own proposals. Media education oscillates between both. In their rather self-aggrandising memoir of the phone-hacking scandal Tom Watson and Paul Hickman state that the events were: The decline, then, of the Creative and Media Diploma was at the very least a missed opportunity to put media education at the heart of the curriculum.

Media education has always been about a more plural approach to the creative industries and the texts they produce: Media education…is one of the few instruments which teachers and students possess for beginning to challenge the great inequalities in knowledge and power which exist between those who manufacture information in their own interests and those who consume it innocently as news or entertainment.

As Andy Ruddock succinctly puts it: The young people who need access to media and media education…are those who have least access to it.

And we publish three articles which approach our regular themes from new angles. Texts, Markets, Institutions, Education. New Paradigms and or? Media Education Research Journal 1 2: Media literacy and neo-liberal government: Pedagogy, Culture and Society, Media Reform Post Leveson. The Future for British Journalism. The Extensions of Man. Dial M for Murdoch: News Corporation and the Corruption of Britain. It argues that just like the protagonist of a screenplay, the screenwriting PhD should take its candidate on a journey: Undertaking a PhD is daunting for any candidate.

Whether the candidature is full-time for a solid three to four years, or part-time for up to six or seven years, there will be times when candidates question and probably doubt what they are doing. If there is a shorter history of completions in such discipline areas, where do we turn to for models of best practice?

These are fundamental questions for any candidate undertaking a practice- based PhD, and for their supervisors alike; and, although they are actively being explored in current scholarship, they still have a fair way to go in being answered.

It is the practice of writing, yes, but does this mean any writing, or does this mean informed writing, whereby the author has employed traditional research methods, data gathering for example? As outlined, there are many complexities and many unanswered questions relating to the practice-based PhD, whether it be in Creative Writing, Media Practice, Visual Arts, and so on. In this way, questions like the one posed by Dobbs are, I would argue, fundamental in developing models of best practice that can be drawn upon by current and future candidates and supervisors.

It is the intention of this article, therefore, to explore how a practice-based PhD might be considered and constructed, and, by association, supervised. The discipline area of Creative Writing will be used to facilitate this exploration, not only because of the literature available and the international developments that have taken place, but because it also allows me to draw from my own experiences of undertaking a PhD in this area.

However, because my own PhD was in the sub-discipline area of Screenwriting, it is my hope that the discussions will also speak to those in the areas of Media and Screen Practice. In one of his articles, Harper articulates clearly his views on the fabric of Creative Writing research. Some of this [Creative Writing research] is concerned with the pragmatics of putting words on a page, the actual physical act of creative writing. But a great deal more is concerned with linking the individual i.

In this way, understanding that Creative Writing is an activity that does not necessarily have a material commercial outcome allows candidates and supervisors to consider that creative practice can in fact be a research methodology, not merely an end product to complement any traditional research that may have been conducted.

This idea is shared by Dobbs, who writes: The creative artefact of a practice-based PhD does not necessarily have to be a material artefact; in fact, perhaps the creative element should not be a material artefact, and rather a creative artefact that embodies a set of research questions and presents the results in a non-traditional way. Things may have moved on since then, with the number of completions increasing, supervisory capacity building, and universities adapting to developments in the discipline, but it is important to note that these practices still can exist, and where they do, they have the potential to compromise the candidate and their work.

If this is the case, the practice-based PhD candidate should try and better understand how theory and practice can combine, leading to a project that is both more manageable and more imaginative. Needless to say, the statement holds weight and is an excellent resource for candidates and supervisors of the PhD in Creative Writing.

Practice-led research in Creative Writing uses creative practice to explore, articulate and investigate. The range of explorations and articulations is as broad as the range of possible subjects, emotions and ideals prevalent in the world.

The results of this practice-led research will demonstrate this knowledge and understanding ibid. They are not analysing creative work from the perspective of a literary analyst. Once more, this reminds us that practice-based PhDs should unquestionably combine practice and theory as one; that doing and thinking, creating and understanding, should fuse and be directed to explore one another.

In other words, theory and practice collide, and as the candidate considers what each means for the other, they are bestowed with knowledge that can then produce new creative work. As well as illuminating some of the ideas being explored, the purpose of this is to provide raw material that may be useful for other candidates and supervisors. As Harper tells us: As creative writers […] we spend most of our lives in the event of Creative Writing: We spend most of our lives working as individuals, or because of individual motivations, feelings, ideals, dispositions.

It could be a feeling; it could be an impulse; it could be a challenge. This was drawn not only from teaching screenwriting, but also from experiences of receiving feedback on my own screenplays from industry personnel. The notion of two narrative threads working for one whole is outlined in many screenwriting books, but as I became aware, nobody had presented a clear model for how the two develop: Using this as my basis, I felt there was enough of a gap in the knowledge being presented on the subject that if researched thoroughly, could be presented to add to the canon of screenwriting literature.

Importantly, I also felt this was something that would help me with my own practice, allowing me to apply the results of research back into the act of screenwriting. In essence, this is the idea that research into a subject enables a better practice of that subject capability , at the same time developing a greater awareness of what we know about the subject knowledgeability.

This, one would hope, results in a better, more enhanced ability of practice. Understanding thus becomes responsive because of how it is used, not just acknowledged: That is its purpose:

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Fucking my real ugly sister sex porn

Looking back at MERJ editorials since then, our position has remained constant: It is now easy to forget that in there were consortia, covering 95 local authorities. The pilots began in , and a further were approved in the following 12 months. At the same time, OFCOM were funding and supporting media literacy education, albeit with a regulatory premise.

The perennial internal dissensus amongst the community of practice over the falsely polarised academic and vocational modalities aside, these were good times for media education. The exam board EdExcel was also very critical, but 11, students did sign up, growing to 40, in This current administration, unlike the previous one, does not shy away from large-scale reform of GCSEs and A-Levels either, but in order to re- establish canons and hierarchies, not challenge them for a more progressive and inclusive alternative as Tomlinson had proposed.

We are not alone. The events are well known to media educators. The Prime Minister, David Cameron, however, was reluctant to do so, preferring to ask newspaper editors to come up with their own proposals.

Media education oscillates between both. In their rather self-aggrandising memoir of the phone-hacking scandal Tom Watson and Paul Hickman state that the events were: The decline, then, of the Creative and Media Diploma was at the very least a missed opportunity to put media education at the heart of the curriculum. Media education has always been about a more plural approach to the creative industries and the texts they produce: Media education…is one of the few instruments which teachers and students possess for beginning to challenge the great inequalities in knowledge and power which exist between those who manufacture information in their own interests and those who consume it innocently as news or entertainment.

As Andy Ruddock succinctly puts it: The young people who need access to media and media education…are those who have least access to it. And we publish three articles which approach our regular themes from new angles. Texts, Markets, Institutions, Education.

New Paradigms and or? Media Education Research Journal 1 2: Media literacy and neo-liberal government: Pedagogy, Culture and Society, Media Reform Post Leveson. The Future for British Journalism. The Extensions of Man. Dial M for Murdoch: News Corporation and the Corruption of Britain. It argues that just like the protagonist of a screenplay, the screenwriting PhD should take its candidate on a journey: Undertaking a PhD is daunting for any candidate. Whether the candidature is full-time for a solid three to four years, or part-time for up to six or seven years, there will be times when candidates question and probably doubt what they are doing.

If there is a shorter history of completions in such discipline areas, where do we turn to for models of best practice? These are fundamental questions for any candidate undertaking a practice- based PhD, and for their supervisors alike; and, although they are actively being explored in current scholarship, they still have a fair way to go in being answered.

It is the practice of writing, yes, but does this mean any writing, or does this mean informed writing, whereby the author has employed traditional research methods, data gathering for example? As outlined, there are many complexities and many unanswered questions relating to the practice-based PhD, whether it be in Creative Writing, Media Practice, Visual Arts, and so on.

In this way, questions like the one posed by Dobbs are, I would argue, fundamental in developing models of best practice that can be drawn upon by current and future candidates and supervisors. It is the intention of this article, therefore, to explore how a practice-based PhD might be considered and constructed, and, by association, supervised. The discipline area of Creative Writing will be used to facilitate this exploration, not only because of the literature available and the international developments that have taken place, but because it also allows me to draw from my own experiences of undertaking a PhD in this area.

However, because my own PhD was in the sub-discipline area of Screenwriting, it is my hope that the discussions will also speak to those in the areas of Media and Screen Practice. In one of his articles, Harper articulates clearly his views on the fabric of Creative Writing research. Some of this [Creative Writing research] is concerned with the pragmatics of putting words on a page, the actual physical act of creative writing.

But a great deal more is concerned with linking the individual i. In this way, understanding that Creative Writing is an activity that does not necessarily have a material commercial outcome allows candidates and supervisors to consider that creative practice can in fact be a research methodology, not merely an end product to complement any traditional research that may have been conducted.

This idea is shared by Dobbs, who writes: The creative artefact of a practice-based PhD does not necessarily have to be a material artefact; in fact, perhaps the creative element should not be a material artefact, and rather a creative artefact that embodies a set of research questions and presents the results in a non-traditional way. Things may have moved on since then, with the number of completions increasing, supervisory capacity building, and universities adapting to developments in the discipline, but it is important to note that these practices still can exist, and where they do, they have the potential to compromise the candidate and their work.

If this is the case, the practice-based PhD candidate should try and better understand how theory and practice can combine, leading to a project that is both more manageable and more imaginative. Needless to say, the statement holds weight and is an excellent resource for candidates and supervisors of the PhD in Creative Writing. Practice-led research in Creative Writing uses creative practice to explore, articulate and investigate.

The range of explorations and articulations is as broad as the range of possible subjects, emotions and ideals prevalent in the world. The results of this practice-led research will demonstrate this knowledge and understanding ibid.

They are not analysing creative work from the perspective of a literary analyst. Once more, this reminds us that practice-based PhDs should unquestionably combine practice and theory as one; that doing and thinking, creating and understanding, should fuse and be directed to explore one another.

In other words, theory and practice collide, and as the candidate considers what each means for the other, they are bestowed with knowledge that can then produce new creative work. As well as illuminating some of the ideas being explored, the purpose of this is to provide raw material that may be useful for other candidates and supervisors. As Harper tells us: As creative writers […] we spend most of our lives in the event of Creative Writing: We spend most of our lives working as individuals, or because of individual motivations, feelings, ideals, dispositions.

It could be a feeling; it could be an impulse; it could be a challenge. This was drawn not only from teaching screenwriting, but also from experiences of receiving feedback on my own screenplays from industry personnel. The notion of two narrative threads working for one whole is outlined in many screenwriting books, but as I became aware, nobody had presented a clear model for how the two develop: Using this as my basis, I felt there was enough of a gap in the knowledge being presented on the subject that if researched thoroughly, could be presented to add to the canon of screenwriting literature.

Importantly, I also felt this was something that would help me with my own practice, allowing me to apply the results of research back into the act of screenwriting. In essence, this is the idea that research into a subject enables a better practice of that subject capability , at the same time developing a greater awareness of what we know about the subject knowledgeability. This, one would hope, results in a better, more enhanced ability of practice.

Understanding thus becomes responsive because of how it is used, not just acknowledged: That is its purpose:

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2 Comments

  1. And we publish three articles which approach our regular themes from new angles. Media education…is one of the few instruments which teachers and students possess for beginning to challenge the great inequalities in knowledge and power which exist between those who manufacture information in their own interests and those who consume it innocently as news or entertainment.

  2. Media education…is one of the few instruments which teachers and students possess for beginning to challenge the great inequalities in knowledge and power which exist between those who manufacture information in their own interests and those who consume it innocently as news or entertainment. Importantly, I also felt this was something that would help me with my own practice, allowing me to apply the results of research back into the act of screenwriting. Using this as my basis, I felt there was enough of a gap in the knowledge being presented on the subject that if researched thoroughly, could be presented to add to the canon of screenwriting literature.

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