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Susan Kerrigan Susan Kerrigan i(8117425 works by)
Gender: Female
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1 The Creative Sustainability of Screen Business in the Australian Regions Susan Kerrigan , Mark David Ryan , Phillip McIntyre , Stuart Cunningham , Marion McCutcheon , 2020 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 14 no. 2 2020; (p. 111-129)

'Public focus on screen business in Australia has been shaped by the information needs of the regulatory and content investment agencies that monitor and support screen content made under the creative control of Australians. This has meant that available data has concentrated on the types of content that have been deemed to require regulatory support – feature films, documentaries and television drama, with more recent interest in short-form content intended for streaming and online platforms and games. The expansion of the notion of screen business has led to a series of Screen Australia reports that focused the debate on value frameworks that included cultural, economic and audience values. These reports informed the 2017 Federal Government inquiry into the Australian Film and Television Industry – they do not, however, provide insights into how screen business is incorporated into localised regional economies and they tend to downplay the cultural contributions from the television and advertising sectors. By looking at screen business in four regional Australia cities we demonstrate how four modes of screen production, which include commercial and corporate content, is being made sustainably in the regions and that regional screen content production activities are an important part of the national screen production ecosystem.' (Publication abstract)
1 y separately published work icon Studies in Australasian Cinema The Business – Valuing the Screen Industry vol. 14 no. 2 Susan Kerrigan (editor), Simon Weaving (editor), 2020 20904385 2020 periodical issue

'Welcome to this special issue of Studies in Australasian Cinema, focusing on business aspects of the cinema industry. The five articles included in this special issue were developed in response to a call for papers for the 2020 Conference of the Australian Screen Production, Education and Research Association (ASPERA) which was to be held in Newcastle, NSW in June. Due to the COVID-19 pandemic, the event - like many others - was significantly reorganised, with only a single day of on-line sessions in place of the traditional three days of live presentations and screenings. Fortunately, many of the ASPERA researchers who had intended to come to the conference decided to complete their written contributions, and it’s their work we present here.' (Editorial introduction)
1 Screen Production Enquiry : A Study of Five Australian Doctorates Susan Kerrigan , Leo Berkeley , Sean Maher , Michael Sergi , Alison Wotherspoon , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 9 no. 2 2015; (p. 93-109)

'Within Australian universities, doctoral research in screen production is growing significantly. Two recent studies have documented both the scale of this research and inconsistencies in the requirements of the degree. These institutional variations, combined with a lack of clarity around appropriate methodologies for academic research through film and television practice, create challenges for students, supervisors, examiners and the overall development of the discipline. This paper will examine five recent doctorates in screen production practice at five different Australian universities. It will look at the nature of the films made, the research questions the candidates were investigating, the new knowledge claims that were produced and the subsequent impact of the research. The various methodologies used will be given particular attention because they help define the nature of the research where film production is a primary research method.' (Publication abstract)
1 Looking Back in Order to Look Forward : Re-Scripting and Re-Framing Screen Production Research Susan Kerrigan , Craig Batty , 2015 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 9 no. 2 2015; (p. 90-92) 'Filmmakers who are also academics want to make creative works as research. This has proven to be a challenging and time-consuming objective for practitioner-academics, despite governmental policy (namely, Excellence in Research for Australia (ERA)) advocating non-traditional research outputs. For example, it is one thing to make a film as research – but it is another to have it recognised as research within an institution, which usually includes the need to provide evidence of peer review or its equivalent. This topic among many has been hotly debated at Australian Screen Production Education and Research Association (ASPERA) annual conferences, and occasionally in some of its publications. But the debates are still ongoing, and given that soon after this special issue is published Australian universities will receive their ERA results, these debates are also likely to continue.' (Publication abstract)
1 Pursuing Extreme Romance : Change and Continuity in the Creative Screen Industries in the Hunter Valley Phillip McIntyre , Susan Kerrigan , 2014 single work criticism
— Appears in: Studies in Australasian Cinema , vol. 8 no. 2/3 2014; (p. 133-149) 'Innovation is at all times accompanied by tradition and creative action of all types takes place against a backdrop of continuity and change, as stated by Keith Negus and Michael Pickering in their 2004 book Creativity, Communication and Cultural Value. On page 91, they write: ‘It is only by thinking about their interrelationship that we can understand processes of creativity and cultural change.’ These assertions can be seen most readily in the creative screen industries that exist in the Hunter Valley of New South Wales. Whether we are talking about networked, broadcast, cinematic or virtual screen industries, it can be seen that the Hunter Valley, centered on the city of Newcastle, has participated, and continues to participate, in the multiplicity of production practices that typify this industry. From Yahoo Serious's Young Einstein to Jamie Lewis's Mikey's Extreme Romance, from NBN Television's Big Dog to the independent documentary The Face of Birth, from the Shoot Out competition to the Real Film Festival, from the contributions of Enigma to the Feel Inspired promotions of Out of the Square Media, the creative screen industries have been well represented in the Hunter Valley and are supported by the regional film agency Screen Hunter. These screen industries are like all creative industries in that many of the creatives who work in these sectors depend on patronage to do what they do (Dawson and Holmes 2012, 10). That may come in the form of direct payments for their skills or by being subsidized by other related work, for example in the advertising industry or being embedded within institutions that need those screen-based skills. There is an increasingly entrepreneurial bent among these creative screen workers. All of them are engaged in one way or another with the generation and exploitation of intellectual property, which comes with an increasing reliance on digital technologies. This paper intends to map the creative screen industries in the Hunter Valley, outline where they came from, and attempt to place them inside a fast-changing global context.' (Publication abstract)
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