Victorian College of the Arts - Theses

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    The function of music in narrative cinema
    Aleksejeva, Sandra (University of Melbourne, 1996)
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    Anton Webern : variationen fur klavier, OP.27 : an analysis
    Martin, Jeremy Christopher (University of Melbourne, 2002)
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    Sibell Mary, Countess Grosvenor by Jules Dalou and its forgotten history
    Marrinon, Linda (University of Melbourne, 1999)
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    The semper eadem : salting flesh shoreline project
    Dalton, Bree Louise (University of Melbourne, 2007)
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    Incarna : investigating spatial realisation in choreography
    Adams, Neil (University of Melbourne, 2006)
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    We Carnivora Becoming: Animating a Multinatural Backyard
    East, Declan Thomas Langley ( 2023-11)
    This research explores the ways experimental animation can enact posthumanist methodologies and situated speculative fictions in an attempt to find more-than-human knowledges and regenerative multinatural ways of being in the face of escalating ecological catastrophes. The project comprises a large-scale video installation, documenting two years of research and experimentation, and an accompanying dissertation. The film aims to reshape dominant narratives that promote the myth of a dualistic separation between nature and culture, and seeks new languages, ways of seeing and intelligence beyond what is defined as human. The outcome of this research project has been the development of a diffractive animation practice — a process and methodology where technology, imagination, and the body collaborate in the production and reinterpretation of sound and images. The dissertation begins with an overview of posthumanism, becoming-with and situated knoweldges. From there, it elaborates on the importance of speculative fictions for redefining the world in ways that are beneficial to all life. These are the stories of ecofeminist science fiction authors, First Nations peoples and more-than-humans. The research focuses particular attention on stories of dogs, coyotes, and dingos for the ways they challenge separations between natural and social-political realms. Chapter Two offers an argument for experimental animation’s ability to enact the posthumanist methodologies and situated speculative fiction practice. I propose that experimental animation reveals processes of thought, material agency (affects and effects), and implicit biases. Through the lens of animacy, it is seen to actively challenge the notion of an inert unconscious world. Chapter Three details the methods and animation practices that have contributed to the final outcome. These are a speculative writing practice, collaboration with nonhuman technology, techniques of re-imaging, and a layering of perspectives within virtual and physical spaces, that is We Carnivora Becoming.
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    The Big Brother Retrospective: Representing Reality, Truth Claims and The Self
    Riess, Gena Lida ( 2023-09)
    This practice-led research, informed by my dual roles as a queer filmmaker and reality TV enthusiast, integrates theories and practical approaches from autoethnography, archiveology, approximation, and sample filmmaking to explore notions of truth and representations of reality in documentary filmmaking and reality TV. Through an investigation into various aspects of filmmaking discourse and practice, culminating in the production of a 50-minute documentary film titled Remembering Big Brother Australia Queerly (2023), this research explores how self-representation in documentary filmmaking can unveil embedded ideologies related to gender and sexuality within the reality TV series Big Brother Australia (Diesel 2001–2022). In doing so, this practice-led research aims to evoke an instability of truth in both reality TV and documentary filmmaking. Reality TV stands out as a prominent television genre, continually giving rise to new programmes and dedicated streaming sites. However, critical analysis of its truth claims has often been dismissed due to the perception that it diverges significantly from reality. The seminal reality TV franchise, Big Brother, achieved global phenomenon status, providing valuable insights into the history of reality TV and shaping our contemporary television landscape. This research acknowledges the importance of understanding what captivates viewers, recognising that it extends beyond being solely a reflection of the production process. It also sheds light on something intrinsic to the individual; what they are drawn to in the world of media says something meaningful about them. By incorporating autoethnography into the fabric of reality TV and my personal documentary practice, the exploration of subjectivity brings the discourse on truth claims to the forefront, revealing an inevitable reflection of my own personal truth. Consequently, both this research and the resulting documentary stand as poignant, deeply personal, and vulnerable endeavours. The outcomes of this research have left a profound impact on my filmmaking practice, offering valuable insights into a wide array of documentary filmmaking methods. This thesis contributes to the broader discourse on the fluidity and subjectivity of representation in documentary filmmaking. It highlights the transformative potential that emerges when working with pre-existing footage, particularly from mainstream media, within the rich context of collective and personal memory.
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    ACCIDENTALLY INTERCULTURAL, INCIDENTALLY FEMINIST: A study in the creation of rehearsal environments
    Kalive, Petra Kristin ( 2023-08)
    This research explores my experience as a theatre director over the past seven years, exploring the nuances of the rehearsal environment and on the work produced. Focusing primarily on MainStage settings, I have developed directorial frameworks through lived experience that address the complexities and challenges inherent in theatre making, particularly when working with artists and stories from traditionally marginalized backgrounds. Artists from marginalised backgrounds who enter MainStage companies are often met by structural barriers, bias, and unconscious assumptions. Leaders who work inside these institutions and enable the presentation of these works also face challenges as they sit at a squeeze point between the needs of the organisation and the needs of the culturally diverse artist. To critically examine these tensions, my research draws on evolving critical theories of intersectional feminism, interculturalism, directorial practice, and collaborative approaches. Central to my investigation is the exploration of these critical theories and influence on my process, with a particular focus on the impact of the improvisational form of Playback Theatre. Through this analysis, I identify points of convergence between interculturalism, intersectional feminism and directorial discourse, finding the intersection of these perspectives in my directorial approach. Utilizing autoethnographic and ethnographic methodology, I present three historical case studies of my projects - Taxithi, Melbourne Talam, and Hungry Ghosts - to outline the development of my key conceptual frameworks: 'Threshold,' 'Yield,' and 'Bridge.' These frameworks offer a means to examine the interplay of critical theories, perspectives, and processes in the creation of a rehearsal environment. Furthermore, I provide a Practice as Research study, which includes the Melbourne Theatre Company production of Laurinda, where I rigorously test the efficacy of these frameworks to bridge the gap between practitioner and scholar discourses. Throughout the research, personal accounts of my lived experiences and growth as a director significantly contribute to the conclusions drawn. The frameworks help illuminate how I 'hold space' as a director and navigate challenges within a MainStage organizational structure, illuminating emerging questions and insights from the directorial process, specifically addressing limitations of emerging critical theory around Brave/Safe theatre practice. This research endeavours to explore the intricacies of cultivating a rehearsal environment that genuinely fosters inclusion while nurturing the artistic vision of a play within a production house. The investigation questions and considers both structural and individual challenges that arise, especially within the context of our contemporary cultural climate characterized by a pressing need for cultural redress. By shedding light on the multifaceted process of establishing inclusive and empowering rehearsal spaces, this study aims to bridge the gap between theoretical concepts and practical implementation, making substantial contributions to the ongoing discourse on better supporting historically overlooked creatives. It also aspires to offer valuable insights to MainStage companies, encouraging them to embrace more inclusive practices while enriching the critical dialogue surrounding directorial and creative approaches in performing arts.
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    Poverty and the work of art
    Thwaites, Vivienne Lesley ( 2023-05)
    This research is a speculative investigation through artwork and parallel text into how notions of poverty as virtue play out in art practice. It begins from the premise that there is an age-old affinity between poverty and art that is akin to that between poverty and religion, and poverty and philosophy. The thesis centers on the interpretation of poverty in the Franciscan tradition, from which perspective it considers its treatment in medieval allegories, Giotto’s frescoes, and arte povera. It contemplates the place of poverty in the ancient wheel of fortune, in the paintings of Nicolas Poussin, in Stoicism, in the Garden of Eden, in the films of Robert Bresson, in the thinking of Heidegger, trying always to uncover the underlying reason or reasons as to why and how a negative condition can be turned into a positive. It looks into the Christian idea of poverty of spirit and seeks its equivalent in art practice. Drawing on insights from philosophers Jacques Maritain, Giorgio Agamben, the Stoics, Martin Heidegger, Simone Weil, and others, the written research builds up a paradigm for understanding the inner poverty upon which the creative process may depend. The practical component of the research is made up of 37 individual paintings which were exhibited under the title ‘The Wind Blows Where It Will’ (Anna Schwartz Gallery, Melbourne 13 March – 17 April 2021). The centre piece of the exhibition is a series of 14 allegorical and narrative images, sparely painted on raw linen panels, which incorporate traditional and art historical references into original imagery to create a revision of the Corporal and Spiritual Works of Mercy, the antiquated codex of Christian charity. The variety of possible scenarios enabled within this framework permit a nuanced exploration of the meanings of poverty that extend into paradox and irony. These and the remaining paintings, which include 5 stand-alone works, 3 triptychs and a constellation of 9 fragmented images on hessian, all use sparse and restricted artistic means which correspond with the ideas and arguments discussed in the thesis. In imagery, content, and materiality the artworks give form and substance to the ambiguous metaphors of poverty and poverty of spirit. Each side of the research goes where the other cannot reach to find a new understanding of poverty as a fundamental principle in the work of art. Documentation of the artwork is submitted with the thesis.
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    An Art-Based Inquiry Into Participants' Experiences of Individually-Tailored Brief Online Art Therapy With Young Adults Who Experienced Challenging Life Events
    Song, Jae Eun Jane ( 2023-02)
    This thesis presents a research project exploring how 15 young adults made meaning of an individually tailored brief online art therapy program. This project took place in an Australian university during the global pandemic, with participants self-identifying as having challenging life experiences. Universities are considered an environment promoting young adults’ self-exploration and identity and skills development (Gutierrez & Park, 2015). Importantly, the significance of the university environment in influencing student mental health and wellbeing is recognised (Baik et al., 2017, p. 5). Among numerous protective factors that promote student mental health and wellbeing, Baik et al. (2017) identify an integrated sense of self, a sense of belonging, supportive interpersonal relationships, and experiencing self-efficacy as positive psychological resources (Baik et al., 2017). Nevertheless, the university environment remains an under-explored practice and research context for art therapists (Sonnone & Rochford, 2020). Considering young adults are characterised as self-motivated and creative individuals open to exploring novel, stimulating and playful activities (Csikszentmihalyi, 1996) and experiencing shifting identity and value formation (Harris et al., 2015), there are exciting possibilities for investigating the potential for integrating art therapy with student and other youth services to offer guided opportunities for their creative self-exploration and personal resource development. This project aimed to respond to this opportunity by exploring young adults’ experiences of the art therapy program that was designed to tailor to their various motivations and needs and promote their self-agentic use of the program (Schwan et al., 2018). This emergent research was designed as an art-based grounded theory study where 14 university students and one young adult participated in up to six art therapy sessions across 6 to 12 weeks and described their experiences in a post-program interview. Making and viewing art was actively integrated with generating data by participants and researcher (McNiff, 2008), while Strauss and Corbin’s (1990) approach to grounded theory was principally applied to the procedural steps in data analysis. A theoretical understanding resulting from this study, conceptualised as co-exploration, elucidated the young adults’ key motivation for and meaning of engaging with art therapy, mapped the actions and interactions of young adults and art therapist and illuminated the conditions conducive to and constraining young adults’ creative self-exploration. In particular, the analysis revealed the compatibility between young adults’ high motivation for self-growth and the features of art therapy that could facilitate the creative, relational and emotional processes promoting self-discoveries, new skills development and self-care. Moreover, participants indicated that their preferred style of engagement was to co-navigate the therapy process to support their expression of self-agency and autonomy within the art therapy program. Additionally, they identified the positive impacts of the art therapy program, which were conceptualised in this study as their enriched self-understanding, self-compassion and self-efficacy. As would be expected with a diverse group of young adults, the significance of these impacts varied among the participants, depending on their pertinence to the participants’ current life situations. This study illuminated young adults’ interest in creative activities and desire for growth and self-care-promoting activities. Specifically, it contextualises their various motivations for participating in brief online individual art therapy within their identity as young adults who are university students and their experiences of challenging life events. The program’s features aligning with the participants’ agentic and creative engagement in self-exploration, leading to self-enrichment, offered key insights. These learnings have important implications for broadening the landscape for youth and student-centred wellbeing and mental health programs. From the participants’ perspectives, practice implications suggest that program design and facilitation should actively involve collaboration with motivated young adults seeking opportunities to nurture their creativity, wellbeing and self-understanding. Offering comprehensive information about therapy modalities and incorporating flexible program designs that can adapt to young adults’ evolving interests and needs are foregrounded for engagement. Furthermore, this study highlights young adults’ preferences for therapy encounters that are characterised as the accessibility of the programs, flexibility in decision-making within the program and diverse methods and modalities for self-expression and interaction with the therapist. These insights hold the potential to enhance young adults’ engagement and the positive impacts of services, promoting their wellbeing and mental health (Watsford & Rickwood, 2015).