Methodology: Methods and Theoretical Frameworks
Graham’s work has been described as introspective, however used to develop a deeper understanding into the psychology of creativity (Amabile, 2019, p. 15).
Throughout the course of this research, it is clear I am taking a practice-led approach by producing a film that specifically reflects the practical findings of my research. Through this constructionist model, I have come to connect with Wallace’s Creative Thinking Process which highlights key stages of a creative idea coming to life (Graham, 1926, p. 80). I have demonstrated this below:
| Preparation | Incubation | Illumination | Verification |
|---|---|---|---|
| Researching and Gathering information and material Stepping away from 'habitual thinking' “The stage during which the problem was investigated in all directions…” (Graham, 1926, p. 80) | Contemplation Removing yourself from the issue to mentally explore “…he was not consciously thinking about the problem…” (Graham, 1926, p. 80) | When the idea comes to you 'Eureka' “…consisting of the appearance of the ‘happy idea’ together with the psychological events which immediately and accompanied that appearance…” (Graham, 1926, p. 80) | Build upon your illumination Test the idea “…both the validity of the idea was tested, and the idea itself was reduced to exact form.” (Graham, 1926, p. 81) |
Despite being introspective, I found myself connecting to the process and have used the model to break down my own creative thinking behind River Town People and the decisions I have made throughout the course of making the film. Below is a secondary table where I have applied each stage of my creative development for my film using Wallace’s Creative Thinking Process.
| Preparation | Incubation | Illumination | Verification | |
|---|---|---|---|---|
| Research and Development | • Researching climate change • Discussing with Lucy the impacts flood had on her, family, and community • Watching news coverage • Researching and collecting community archive (videos, photos, etc) | • Collecting community archive • Preparing potential interview questions based on research | • Being in class and workshopping the idea • Actively reading news coverage and stories from the community • Watching other docos that also follow similar themes | • Asking and answering the question: Is this issue still relevant? |
| Pre Production | • Collecting community archive • Preparing potential interview questions based on research | • Meeting people in the community and listening to their stories without filming them | • Discussing the test shoot footage and reflections with fellow creatives • Preliminary interview with Lucy • Creating a mood board of my own shots from the test shoot and also from visually reference-able films • Being with the family and filming their lives. This helps them get used to a camera being around. | • The test shoot • Sizzle reel |
| Production | • ‘Brain dumping’ each day during the test shoot • Emotionally connecting to Lucy and the family as a family and not always approaching them as participants | • Putting my research to practice during production. | ||
| Post Production | • The doco itself | |||
| Distribution |
This is a constant cycle. It’s a circular process that happens in each stage of production.
This is a technique that I have found myself revisiting repeatedly throughout the process of my research and development of the documentary. It is a process that is iterative and recursive hence why I had added my own experience of using this process throughout each stage of production. It is a process that should be constantly in repeat in order to reap the most benefits from it. Build and repeat.
So, how do we apply each of these categories into each stage of production? I have provided the below points in the toolkit as part of the set of recommendations, which I am taking purely from my experience on making my documentary River Town People. Here is a summary:
Incorporating Visual Ethics and Wallace’s Creative Thinking Process
Why have I decided on combining the process with visual ethics? As the visual ethical component should be considered from the very beginning stages of production, I had tested ways on making it relevant in each stage of Wallace’s Creative Thinking Process. I believe the combination can make for stronger story telling as there is the necessity to constantly interrogate creative decisions and reflect on these decisions.
Could this then limit or ‘hold back’ your creative process or freedom? In my own experience I would disagree. If you implement this and find yourself being held back by the philosophy of ethical decision making in your creative process than this is not being implemented effectively. The toolkit will go into detail on how to incorporate visual ethics and Wallace’s Creative Thinking Process without holding yourself back creatively.
The idea isn’t to say what is right and what is wrong in your creative process. The idea is to find ways to challenge and explore your creative habits using a toolkit, your creative decisions, and making considerations on how a story can still be effective in making impact without compromising visually on your storytelling.
Below is a summary of what can be found in the toolkit with the addition of my own experiences and reflections in each stage of making my film River Town People.
Preparation
When it comes to incorporating visual ethics into your production, it is best to start at the very beginning stages of production, which would refer to the ‘breaking of habitual thinking’, introducing a new way of researching your story.
What would be the purpose of using this material?
Can I tell this story without using potentially traumatic visuals?
Do I want to create impact or do I want to shock people? If it is shock, why do I want to do that?
I knew early on that I did not want to incorporate archival material for 2 main reasons:
To establish clear borders for when in time the story will follow.
To challenge the idea of the purpose of using archival material.
This required that I establish early in the production process what my borders for my film will be. Who is telling this story? When is it set? What format am I following to tell this story. What is the journey of my main character/s? What story am I telling? At this point, I was reflecting quite a bit using all these questions as my stimuli.
Incubation
Removing yourself from the issue will lead to more in depth reflecting. Now that you have broken the habitual thinking and incorporating visual ethics in the preliminary sense, we can start to find alternate ways to engage with the story. If it is possible, live the story. I felt myself constantly going back to the question ‘how can my film help this community?’ Instead of making the decision myself, I asked the community and the participants in the film.
How can I involve myself in the conversation?
Who is the best person to tell this story?
Why me? Why do I need to make this film?
These reflective questions ensured that my motivations were clear to myself and the participants of the film.
Illumination
What is your ‘Eureka’ moment? You have started to establish how you can incorporate visual ethics into your film. Here, your reflections should start to come to life and your idea will start taking shape. Themes, narratives, and throughlines will become clear. With the correct reflections and actions taken in previous stages, you will start to see more and more ‘eureka’.
In my own experience, you will never have a single eureka. They will be constant and ongoing and will strengthen your story. Some questions to consider at this stage:
What was the catalyst for this eureka?
Can this be revisited for future eureka?
Have discussions with mentors and fellow creatives and keeping a close diary can help with more and more moments of illumination.
Verification
This is not about validation. To verify what you are doing is to feel confident in the direction your story is heading and the steps you yourself are taking to ensure the purpose of the film you intended. Consider these steps to assist in verification:
Test the story. Film with your participant before the official production period has begun. This can take us back to the beginning stages of the Creative Thinking Process
During the preproduction process of my own film, I spent a week with my participant and filmed them and developed a stronger sense of the story. This was my own verification.
Final Method: Group Study and Survey Screening
During a workshop with Maya Newall and Lisa Sherrard at AFTRS on impact producing for documentary, it was mentioned how early screenings reveals certain weak points in the film and whether or not you are reaching the impactful points that is needed for the film. For myself and River Town People, the post process had been long and at times quite challenging. When I wasn’t sure if the story was clear, I felt it necessary to collect a random group for a surveyed screening of the fine cut that we had at the time.
It would prove to be beneficial. The survey lasted for 30mins and contained 12 questions:
How did the information at the start of the film make you feel?
What are your thoughts on how Lucy was introduced?
Explain your response to seeing the caravan.
Was the information about the buyback scheme clear to you?
How did the information of the buyback back scheme make you feel?
What was your response to the protest and the community response?
Would you recommend this film to others to watch?
Would you recommend this film as an informative piece of the issues faced by those still surviving after natural disasters?
Did the film inspire you? If so, what has it inspired you to do?
Are you convinced by writing to your local MP about this issue?
What information do you feel needed to be covered in the film?
What do you feel is missing from this film?
The results and findings are discussed in the Research section.
Furthermore, on how I incorporate Wallace’s Creative Thinking Process and Visual Ethics is found in my toolkit which breaks down each step in production and the list of recommendations on how to apply each stage of the process with each stage of production. This is purely based upon my own reflections and findings of how I applied each part of the process to my own production. The recommendations are based on that experience.