Yumi piksa : our pictures : community-responsive filmmaking as research practice

Thomas, V

Yumi piksa : our pictures : community-responsive filmmaking as research practice

Thomas, V

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Publication Type:: Thesis
Issue Date:: 2011

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Filename	Description	Size
01Front.pdf	contents and abstract	259.85 kB	Adobe PDF	View/Open
02Whole.pdf	thesis	3.23 MB	Adobe PDF	View/Open
03Mama Bilong Down Under.mp4		234.82 MB	MP4	View/Open
04Nokondis Morning Call.mp4		136.35 MB	MP4	View/Open
05Levekuka Clay.mp4		245.79 MB	MP4	View/Open
06Making of Yumi Piksa.mp4		269.44 MB	MP4	View/Open

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Field	Value	Language
dc.contributor.author	Thomas, V
dc.date.accessioned	2015-05-20T02:53:30Z
dc.date.available	2015-05-20T02:53:30Z
dc.date.issued	2011
dc.identifier.uri	http://hdl.handle.net/10453/35718
dc.description	University of Technology, Sydney. Faculty of Arts and Social Sciences.	en_US
dc.description	NO FULL TEXT AVAILABLE. Access is restricted indefinitely. The hardcopy may be available for consultation at the UTS Library.
dc.description.abstract	NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- The thesis explores the collaborative application of media and arts‐based research practices involving students from the University of Goroka (Papua New Guinea) as co‐researchers. It critically examines the processes of developing a community‐responsive approach to filmmaking in order to challenge preconceived notions of media and research practice. The design of culturally appropriate strategies is investigated concurrently with a view to building local media training and research capacity in Papua New Guinea. The thesis draws on two theoretical approaches. First, by using a Melanesian research framework of relationship, reciprocity and collective memory the project questions dichotomies of insider and outsider, researcher and researched. Second, the research situates itself methodologically in a hybrid form of artistic action research and a/r/tographic inquiry to capture the complexity of the creative process as ‘living inquiry’. These two methodological approaches are realised through the creation of a filmmaking workshop titled Yumi Piksa (Our Pictures). Reflecting on this workshop and its dynamics, the thesis consists of both written and filmic components. The filmic component includes the collaborative production of three short documentaries (Mama Bilong Down Under (13min), Levekuka Clay (13min) and Nokondi’s Morning Call (9min) and a half‐hour film about the process of the Yumi Piksa workshop. The written component of the thesis examines the theoretical underpinnings of these accomplishments. The research study found that stereotypical perceptions and understandings of Papua New Guinea communities could be challenged by respectful and community‐responsive ways of making films involving local community members. It presents filmmaking as creating a meaningful space for exploring community relations and practices. Papua New Guinean co‐researchers acted to bridge dialogue between rural communities, media technologies and the national and transnational media sphere. Arguing for the entanglement of social and cultural practices within the filmic products, this thesis presents a strong case for the use of arts-based methods in academic endeavours. It further presents a new conceptualisation of research and media practice in Papua New Guinea, creating a space for a (re)emerging indigenous research and media landscape.	en_US
dc.format	Thesis (PhD)	en_US
dc.language.iso	en	en_US
dc.rights	info:eu-repo/semantics/closedAccess
dc.rights	The author owns the copyright in this thesis including all reproduction and reuse rights for the work. The work may not be altered without the permission of the copyright owner. Attribution is essential when quoting or paraphrasing from this thesis.
dc.title	Yumi piksa : our pictures : community-responsive filmmaking as research practice	en_US
dc.type	Thesis
utslib.copyright.status	closed_access

Abstract:

NO FULL TEXT AVAILABLE. Access is restricted indefinitely. ----- The thesis explores the collaborative application of media and arts‐based research practices involving students from the University of Goroka (Papua New Guinea) as co‐researchers. It critically examines the processes of developing a community‐responsive approach to filmmaking in order to challenge preconceived notions of media and research practice. The design of culturally appropriate strategies is investigated concurrently with a view to building local media training and research capacity in Papua New Guinea. The thesis draws on two theoretical approaches. First, by using a Melanesian research framework of relationship, reciprocity and collective memory the project questions dichotomies of insider and outsider, researcher and researched. Second, the research situates itself methodologically in a hybrid form of artistic action research and a/r/tographic inquiry to capture the complexity of the creative process as ‘living inquiry’. These two methodological approaches are realised through the creation of a filmmaking workshop titled Yumi Piksa (Our Pictures). Reflecting on this workshop and its dynamics, the thesis consists of both written and filmic components. The filmic component includes the collaborative production of three short documentaries (Mama Bilong Down Under (13min), Levekuka Clay (13min) and Nokondi’s Morning Call (9min) and a half‐hour film about the process of the Yumi Piksa workshop. The written component of the thesis examines the theoretical underpinnings of these accomplishments. The research study found that stereotypical perceptions and understandings of Papua New Guinea communities could be challenged by respectful and community‐responsive ways of making films involving local community members. It presents filmmaking as creating a meaningful space for exploring community relations and practices. Papua New Guinean co‐researchers acted to bridge dialogue between rural communities, media technologies and the national and transnational media sphere. Arguing for the entanglement of social and cultural practices within the filmic products, this thesis presents a strong case for the use of arts-based methods in academic endeavours. It further presents a new conceptualisation of research and media practice in Papua New Guinea, creating a space for a (re)emerging indigenous research and media landscape.

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http://hdl.handle.net/10453/35718