UWE Bristol’s Associate Professor in Filmmaking, Charlotte Crofts convenes discussion panel at Symposium.

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Charlotte, is an Associate Professor in Filmmaking at UWE Bristol and Editor in Chief of Screenworks an online, peer-reviewed journal of screen media practice research. She was invited to convene a round table discussion panel on “Publishing Screen Media Practice Research: Editorial Approaches” at the annual MPE/MeCCSA Practice Network Symposium 2021.

The Practice Network Symposium is delivered in association with the journal of Media Practice Education and is hosted by the Faculty of Business, Law and Digital Technology at Solent University, Southampton. It’s also supported by the MeCCSA Practice Network that champions practice within the Media Communications and Cultural Studies Association (MeCCSA). MeCCSA are dedicated to maintaining and developing links with the creative industries and relevant networks.

This round table discussion with the editorial board of Screenworks, focussed on the journal’s evolving editorial approaches. Using Screenworks as a case study, they explored the dialogic relationship between written statement and practice, critically examining the peer review process (from both sides of the experience) and outlining the journal’s journey to becoming more accessible and inclusive.  They also explored Screenworks’ role in academic publication of the emerging field of videographic film criticism.

Read the event details and view the YouTube footage below.

Dr Charlotte Crofts’ research spans traditional publication, practice and knowledge exchange, including filmmaking (both documentary and narrative), pervasive media (award-winning locative heritage apps) and curatorial practice.

She has led impact case studies for REF14 and REF21. She is on the steering committee of UNESCO Bristol City of Film, is director of the Cary Comes Home Festival (established 2014). She is co-founder of the Angela Carter society and is currently developing a feature film adaptation of Angela Carter’s ‘Flesh and the Mirror’ which has been supported by the BFI Development Fund.

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