Associate Professor Susan Kerrigan
Honorary Associate Professor
School of Humanities, Creative Ind and Social Sci (Communication)
- Email:susan.kerrigan@newcastle.edu.au
- Phone:(02) 4985 4517
Investigating the creative industries
Newcastle is no longer the ‘steel city’ it once was with a new focus on the growing area of creative industries. Screen production scholar Associate Professor Susan Kerrigan has the data to prove it; having worked on an Australian Research Council funded project that confirms creative activity in the region is on the rise.
What are the creative industries? Who works in them? How many people do the creative industries employ in the Hunter Region? They are the types of questions asked by Associate Professor Susan Kerrigan in the research project Creativity and Cultural Production in the Hunter Region. Associate Professor Kerrigan was part of the team of scholars, all also Creative Industries practitioners, who ran the project that saw 115 ‘creatives’ interviewed in the region as well as significant observation in the field of those industries.
Associate Professor Kerrigan worked in close collaboration with team leader Phillip McIntyre and industry partners on the project with the aim of mapping the creative industries (CI) activities in the Hunter region. Associate Professor Kerrigan says this was achieved by simply going out to talk to people and observing what they do, using an applied ethnographic approach.
“My colleagues and I really wanted to put the Hunter on the map because there are a lot of creative activities going on here. But because of Newcastle’s longstanding relationship with BHP it’s known as an industrial city and a pathway to the mining industry, it’s often forgotten in terms of it’s creative capacity,” Associate Professor Kerrigan said.
The team conducted interviews across eleven CI sectors – Advertising and Design, Electronic Games and Interactive Content, Architecture, Fashion, Visual Arts, Performing Arts, Music, Publishing, Radio, Film and Television.
Associate Professor Kerrigan’s background is in film-making and screen production, so it was natural that her part in the project centred around film work, producing ethnographic video interviews with selected study participants. The interviews make for interesting viewing with the creatives offering their opinions on the CI space, how their businesses operate and what’s working in the ever-changing technological environment.
“People keep thinking it’s all about the digital in the creative industries. It’s actually a relationship between the traditional and the digital, because you can’t have one without the other. Unfortunately the digital age is very much about the collapse of the more traditional media business models. A lot of those are failing and new innovations are taking their place, so we looked at what happens when those kind of things collapse. It’s a dynamic and active space because of the digital disruption that is occurring,” Associate Professor Kerrigan noted.
“What we discovered is the growing areas are in design, website design, and advertising. There’s a big push these days for companies to communicate and promote themselves in creative and funky ways in order to engage clients and build reputations. We also did some statistical research based on Census data from 2011 and 2016 and found there has been significant growth in the creative industries in the Hunter region.”
The main project outcome is the presentation of the research findings to policy makers, industry and academia to inform their practice and to increase their understanding of factors affecting creative output in an increasingly technological world. Dr Kerrigan said that the term ‘creative industries’ has become a buzz-word with many people trying to work out how they can get in on the action.
“The 115 people we interviewed are another audience who are interested in our findings because they’re trying to work out what the creative industries are themselves. Our research illustrates the different types and forms of creative activity in these industries – everything from the traditional visual arts, design and music, to more modern forms such as interactive content creation and public relations,” Dr Kerrigan said. “More broadly, these findings will also inform undergraduate students and parents interested in what their kids might do if they were to study in the creative industries. They’re asking ‘What is it and can you make a living out of it?’ We found that it’s definitely a growing area and the largest part that is growing is in design,” she concluded.
Pinpointing creative hotspots
Following on from her ethnographic research in the Hunter, Associate Professor Kerrigan is working on a new project, Australian Cultural and Creative Activity: A Population and Hotspot Analysis,that aims to grasp the contemporary dynamics of cultural and creative activity in Australia.
She says this is a comprehensive project that will advance the integration of quantitative and qualitative research strategies, painting a complete national picture, while also exploring the factors that are producing local and regional creative hotspots.
“This is a huge project with a big team led by Queensland University of Technology Distinguished Professor Stuart Cunningham. In this project we’re using a model called the trident methodology that is basically about where creatives get employment. This falls into three categories: specialists, support workers, or embedded creatives. We’re drilling down into those differences about how people are employed and we’re going nation wide, so we’ve really scaled up.”
From behind the camera to in front of the class
It was Susan’s love of the visual medium of film that prompted her to complete her Bachelor of Arts in Communication Studies at the University of Newcastle. After that she worked for 13 years at ABC Television producing and directing across a variety of live and pre-packaged productions (including Wildside, GP, Big Sky, Play School) using multi-camera and single camera approaches.
While she was on maternity leave from the ABC, Associate Professor Kerrigan sought a change of pace from Sydney life and so she came home and took on a position teaching screen writing for documentaries at the University of Newcastle. She soon found herself happily immersed in the world of academia.
“I’m dyslexic so the reason why I worked in television is because I liked images, I didn’t like words very much. The only reason I considered applying for the academic job was because someone told me I could do a PhD where I could make a film and I thought ‘well I can do that’, but I couldn’t ever do a 100,000 word thesis,” Associate Professor Kerrigan said.
Susan discovered her dyslexia later in life when her own daughter had trouble with spelling. She found that coloured Irlan lenses work well for her and have allowed her to achieve what she has today.
“The Irlan lenses basically changed my life, reducing my headaches and increasing my comprehension of information. I’ve got a very good memory but it’s hard for me to read things. I couldn't do the job I do now without them,” she said.
For her PhD she made a film called ‘Using Fort Scratchley’ which was funded by Newcastle City Council. It was at this time she started to explore what it was to be creative as a filmmaker.
“That theoretical underpinning around creativity as a systemic process has continued throughout all my research which is how I ended up working on the Hunter Creative Industries project. We not only looked at how creative industries function from the outside, but we also looked at how practitioners work, how they are creative while keeping themselves financially afloat as they manage ‘love’ jobs with paying the bills,” Associate Professor Kerrigan said.
“I’m interested in all things creative. The thing I really enjoy about being an academic is explaining what creativity is and breaking it down to something that is practical and hands on and actually useful for students now and as they move into their careers.”
She is a strong believer that education provides opportunities that you didn’t even know existed, particularly inside the creative industries, and has witnessed changes over the years which mean students exit their degree programs and go into jobs that were un-heard of when they started University.
“I had a student and when he started his course newspapers were all paper based. Three years after he graduated he was making videos for The Australian. That job didn’t exist when he started his degree. In such a short time we’re seeing remarkable change. But it’s also sad as some of the more traditional pathways to careers are starting to collapse and we’re seeing a need to combine many skills together in order to look employable and that can be challenging.”
Investigating the creative industries
Investigating the creative industries
Career Summary
Biography
Dr Susan Kerrigan is a Creative Industries researcher and Screen Production Scholar. She has worked on international and nationally funded research projects on Creative Industries and Filmmaking. Her research approaches are qualitative and practice based in filmmaking, which is informed by her professional career as a television Producer, Director and Writer at the Australian Broadcasting Corporation.
In 2018, Susan began work on the ARC Linkage grant focused at identifying and explaining 'creative hotspots' across the nation. The project is lead by QUT Prof Stuart Cunningham. In 2018 Susan and her colleague A/Prof Phillip McIntyre delivered the final report for the ARC Linkage on the Hunter Regions Creative Industries, she also completed a UK, Arts Humanities Research Council (AHRC) Networking grant called Film-making Research Network, with Dr Joanna Callaghan from University of Sussex, UK.
Susan is an ARC Reviewer, has peer-reviewed over 50 articles for international journals and has examined more than 14 PhDs and Masters (by research) for Screen Production, Screen writing and Television practices. Kerrigan has co-edited a collection 'Screen Production Research:Creative Practice as a Mode of Enquiry' (2018), with Professor Craig Batty, UTS and is co-editor on 'The Palgrave Handbook of Screen Production' to be released late 2019. Susan has also co-authored a book on creative approaches to teaching with her UON colleagues called 'Educating for Creativity within Higher Education (2018).
Dr Kerrigan and her research colleagues did very well in the recent national Impact and Engagement exercise in ‘Creative Arts & Writing’ Field of Research code 19 where The University of Newcastle (UON) received a HHH (3) score for the ‘Hunter Creative Industries as an Entrepreneurial System’ case study. That project was led by A/Prof Phillip McIntyre and A/Prof Susan Kerrigan. Only four other institutions in the country achieved a rating like this for FoR 19. The research was primarily funded by an Australian Research Council (ARC) Linkage Grant entitled 'Creativity and Cultural Production: An Applied Ethnographic Study of New Entrepreneurial Systems in the Creative Industries'. The four year project was lead by Phillip McIntyre and its findings provide invaluable baseline data for the creative industries in the region. It has been taken up by policymakers. Those working in, and dealing with, these increasingly significant industries, either educationally, politically, economically or culturally, now know, through the project's major report, exactly what the creative industries are, how they work and why they're important, rather than making decisions based on guesswork or assumption. At a deeper level the research has helped expose and explain this regional creative system in action, what others have described as a dynamic innovation ecosystem.
Teaching in the School of Creative Industries, Dr Kerrigan has created and delivered over 15 courses which are both practical and theoretical. Together wtih A/Prof Phillip McIntyre and colleagues, Dr Janet Fulton and Dr Michael Meany they have developed and published what has been called Systems Centered Learning (SCL), which is grounded in the research literature on creativity. The SCL model allows teachers to set the conditions for students to be creative, while facilitating an ever increasing sense of the student's own growing abilities as they work inside an action-based creative systems. Future Fellow, Anee Harris, from the School of Education at RMIT described 'Educating for Creativity within Higher Education (2018), as:
"that most useful of texts which gives the reader - even if you don't know it yet - everything you need to build your broad field knowledge about creativity in education, but also one model for improving its presence in higher education...such theoretically informed, practically oriented, and robustly tested models of creativity education will increasingly change the field for the better" (in McIntyre et.al 2018, pp. vii and ix).
In 2016 Susan was the Program Convenor for the Bachelor of Communication (Honours). In 2013 Susan led the external review for the Bachelor of Communication Program, her teaching and research is informed by her past professional practice, as a TV Producer/Director for the Australian Broadcasting Corporation, where she worked on the iconic children’s program ‘Play School’. Susan has taught, over the last decade, multiple Screen Production courses in the Media Production Major for the Bachelor of Communication program. These include: Screenwriting Documentary and Drama, Media Production Television (multi-camera), Music Video, Screen Drama, Video and the final year course Media Production Project (20 units).
Susan is a member of the Communication and Media Research (CAMR) group. During 2012/2013 Susan was President of the Australian Screen Production, Education and Research Association (ASPERA) and in 2014 Susan convened the annual ASPERA Conference 'Screen Explosion'.
In 2010, Susan completed her PhD, on 'Creative Documentary Practice', she has presented this research at international conferences and has published internationally in the field of Creative Screen Practice. The creative work PhD investigated the Producer/Writer/Director's creative process for cross platform low budget documentary productions of two works titled 'Using Fort Scratchley' and 'Fort Scratchley a Living History' (www.fortscratchley.org). Susan has successfully supervised University Medalist's who received First Class Honours doing 'Creative Media Projects' where students can make a media project of their choice.
Susan's research is closely aligned with her past employment at ABC Television Sydney (1987-2003), where she worked across a variety of productions using multi-camera and single camera approaches. Susan produced and directed 20 episodes of Play School and 18 months of Mixy Breakfast Hostings. Other highlights include 40 hours of continuity credits on Australian Drama TV productions (including Wildside, GP, Big Sky) and 150 hours as a DA/PA on studio -based, live and pre-packaged television programming.
Research Expertise
Susan researches film-making practice and 'creative practice', by applying creativity theories to film making practice. Creativity is an idea, process or product that is recognised, by individuals or groups as being unique, novel or innovative (Csikszentmihalyi, 1999). The new knowledge created by this research helps to better explain the cultural and creative processes that practitioner's tacitly engage in during the making of screen/media works. This research is significant as it generates new knowledge and understandings which bridges the theory/practice nexus by aligning creative process theories (Bastick, 1982; Csikszentmihalyi, 1996; Wallas, 1976) and cultural industries approaches (Hesmondhalgh, 2007) to film, television and media production personnel. This creative practice research can be conducted through a self-reflective methodological approach or using more traditional qualitative methods to investigate media practitioner's creative processes and practices. References: Bastick, T. (1982), Intuition, how we think and act, Chichester; New York: Wiley. Csikszentmihalyi (1999), Implications of a Systems Perspective for the Study of Creativity., In R. Stenberg (Ed.), Handbook of Creativity (pp. 313-335). Cambridge: Cambridge University Press. Hesmondhalgh D (2007) The Cultural Industries. 2nd edition. London and Los Angeles: SAGE. Wallas, G. (1976), Stages in the Creative Process, In A. Rothenberg, & Hausman, C., (Ed.), The Creativity Question. Durham, N.C.: Duke University Press.
Collaborations:
Susan is collaborating with Industry partners, Create NSW and Creative Victoria on a ARC Linkage Grant 'Australian Cultural and Creative Activity: A Population & hotspot analysis' lead by QUT Distinguished Professor Stuart Cunningham. Between 2013 and 2017 Susan was collaborating with industry partners TechnicaCPT and Newcastle Now on the ARC Linkage Project 'Creativity and Cultural Production in the Hunter.
External to UoN, Susan has lead research projects with Associate Professor Pieter Aquilia on Internationalising Screen Curriculum. As an active ASPERA member, Susan is collaborating with academics from QUT and RMIT on forthcoming publications about Screen Practice. At the local level Susan has collaborated with Screen Hunter, the regional filmmaking agency.
Teaching Expertise
Susan's teaching is professionally focused in Communication and Media, and she won a Teaching Merit award in 2018 for the delivery of her Television Production course. Susan has a specific interest in television and screen productions for students in the Bachelor of Communication Degree. Susan has taught over 15 courses in the Bachelor of Communication program which include: CMNS3450 Media Production Project (double unit) CMNS3440 Media Production: Screen Drama CMNS3170 Screenwriting (Documentary) CMNS3180 Screenwriting (Drama) CMNS3500 Communication Professional Practice CMNS3310 Communication, Creativity and Cultural Production CMNS2040 Music Video CMNS2035 Media Production: Television CMNS1230 Foundations of Media Production CMNS1000 Introduction to Digital Communication CMNS1004 Media Production: Video
Administrative Expertise
Currently Susan is the Deputy Head of School for Research Training, for the School of Creative Industries part of that role is to oversee the PhD and Masters students enrolled in the school. Previously Susan was Head of Discipline for Communication (2016-2017) and Communication Program Convenor (Honours) (2015-2017), Communication Program Convenor from 2013-2014 was the Deputy Program Convenor for 2011-2012. In 2013 Susan lead the External Review for the Communication Degree.
Qualifications
- PhD (Communication & Media Arts), University of Newcastle
- Bachelor of Arts (Communication Studies), University of Newcastle
- Graduate Certificate Practice of Tertiary Teaching, University of Newcastle
Keywords
- Creativity
- Documentary Practice
- Media production
- Screen Production
Fields of Research
| Code | Description | Percentage |
|---|---|---|
| 470204 | Cultural and creative industries | 50 |
| 360505 | Screen media | 50 |
Professional Experience
UON Appointment
| Title | Organisation / Department |
|---|---|
| Associate Professor | University of Newcastle School of Creative Industries Australia |
Academic appointment
| Dates | Title | Organisation / Department |
|---|---|---|
| 14/9/2015 - 31/12/2015 |
Editor Special Issue - Studies in Australasian Cinema Journal 'Looking Back in Order to Look Forward:Re-Scripting and Re-Framing Screen Production Research' vol 9.2 published as a special issue in Studies in Australasian Cinema Sept 2015. |
Studies in Australasian Cinema United Kingdom |
| 1/1/2014 - 31/12/2014 |
ASPERA Conference Chair 2014 - Screen Explosion, University of Newcastle This conference is for the 1902 FoR code Film, Television and Digital Media. There were 60 papers presented, a special issue of Studies in Australasian Cinema V9.2, 2015 and online Conference Proceedings were generated by participants. |
Screen Explosion - 2014 ASPERA Conference Australia |
| 1/1/2009 - 31/12/2015 |
Membership - Australian Screen Production Education and Reserach Foundation ASPERA represents Australian Universities offering qualifications at undergraduate and/or postgraduate levels, including bachelor, master and doctoral degrees in various screen production disciplines. It plays an active role in shaping quality education for those working or planning to work in production or research for the screen. It addresses issues of concern to the sector, and is concerned with the status of screen production courses within the education sector. It addresses the relationship between the screen production education sector of the industry and the wider Australian screen industries. It aims to lift the profile of the screen based industries within the wider economic, social and cultural development of Australia. |
ASPERA - Australian Screen Production Education and Research Association ASPERA Research Sub-Committee Australia |
Membership
| Dates | Title | Organisation / Department |
|---|---|---|
| 20/7/2012 - 10/7/2013 |
ASPERA President ASPERA is the Peak Disciplinary Body for Screen Production Research and Education in Australia. |
ASPERA - Australian Screen Production Education and Research Association Australia |
Professional appointment
| Dates | Title | Organisation / Department |
|---|---|---|
| 1/6/1999 - 28/7/2003 |
ABC Television Producer Director As a Television Producer, Director and Writer I worked on 20 Episodes of Play School from 1999 till 2000. Following this I worked on a Children's morning program called 'Mixy Hosting' from 2001 till 2003 as a Producer/Director. |
Australian Broadcasting Corporation Australia |
Awards
Prize
| Year | Award |
|---|---|
| 2019 |
DVC (A) Merit Teaching Prize The University of Newcastle |
| 2015 |
Winner Best paper prize 2015 - Film History Australia and New Zealand (FHAANZ) Conference Film History Australia and New Zealand (FHAANZ) Conference |
Research Award
| Year | Award |
|---|---|
| 2008 |
Outstanding Post Graduate (Research) Student Achievement Award Faculty of Science and Information Technology, The University of Newcastle | Australia |
Teaching Award
| Year | Award |
|---|---|
| 2010 |
Outstanding teaching Award for CMNS3450, Faculty Science and IT Faculty of Science and Information Technology, The University of Newcastle | Australia |
Thesis Examinations
| Year | Level | Discipline | Thesis |
|---|---|---|---|
| 2020 | PHD | Other |
East African Stories of Love: Challenging Cultural Perceptions Creative work: East African Stories of Love This was a creative PhD where an exegesis and creative work was examined. The Creative Work was called "East African Stories of Love". |
| 2020 | PHD | Other |
The making of Broken: A manifesto for a democratized cinema This was a creative work PhD where an exegesis and a film were submitted for examination. The feature film is called "Broken". |
| 2020 | PHD | Arts | The Hero’s Journey in Narrative Media: The Female Model |
| 2019 | Masters | Arts | Film on the March! Visual documents of war and the cinematic war genre |
| 2017 | PHD | Arts | Exegesis – Visualising the Internal – the transference of emotion and theme through cinematic language in the adaptation of novel to screen, Screenplay – Love Without Hope |
| 2017 | PHD | Arts |
A Country Practic: A Study of Mediation in Screenwriting Practice Using Pierre Bourdieu’s theory of practice as a theoretical framework, this thesis examines scriptwriting practice in regard to its interaction with the dominant production processes in Australian film. The role of the script and its relationship to film production processes is poorly addressed within Australian film studies, which approaches films as text, genre or national cinema. In the thesis, Australia cinema serves as an intrinsic case in the examination of the experience of creative practitioners in the administered culture of late capitalism, where government funding compensates for the low commercial viability of the majority of Australian films, but exposes the practitioner to a range of systematically-imposed constraints. |
| 2017 | PHD | Arts |
The Creative Process of Australian Screenwriter Jan Sardi This study deploys two integrated forms of enquiry: a documentary production and an exegesis. Adopting a practice-led approach, the 72-minute documentary foregrounds Sardi’s first-hand testimony about his creative process and enables this to be juxtaposed with that of his collaborators and the produced work. The study utilises Csikszentmihayli’s systems model of creativity (1999, 2014) as a framework for understanding how a creative individual absorbs the rules of the domain of screenwriting in order to produce a screenplay that is accepted by the field. The exegesis considers the findings of the documentary and examines the available scholarship on Sardi’s work as well as his screenplays, and offers conclusions about Jan Sardi’s creative process. |
| 2017 | PHD | Arts |
Narrative Comedy Screenwriting: reclaiming Identity through self-directed, transformative learning This creative practice-led research examines a journey of self-directed transformative learning through immersion in creative and reflective writing processes. Writing narrative comedy screenplays for a television series titled Fighting Fit, enabled the researcher to examine how critical reflection on screenwriting processes and the sources of inspiration for the screenplays facilitated a perspective shift indicative of transformative learning. Mezirow’s three types of reflection, (content, process and premise or critical) were documented in a reflection journal and triangulated against external feedback from a critical community, industry mentor and professional script reading. Critical feedback used to inform reflections on script development provoked a cycle of inquiry into lived experiences which inspired the screenplays. The screenplays themselves were examined to identify how the essence of lived experiences insinuated itself into the development of characters and themes in Fighting Fit. This allowed concerns about identity and alienation within the workplace to be identified and reframed within a humorous perspective. Critical reflection informed by transformation theory encouraged deeper engagement with sources of inspiration and provided insights for examining influences on creative practice. The research suggests an approach to scriptwriting as professional development which has the capacity to increase creative capabilities and facilitate self-directed, transformative learning. |
| 2016 | Masters | Arts |
Bridging the Abyss: Transnational Asian Cinema and the making of Citizen Jia Li and the film Citizen Jia Li This was a creative research project looking at the film 'Citizen Jai Li' and transnational Asian Cinema. |
| 2015 | PHD | Other |
The 'Art of Editing' 'The Art of Editing' is a PhD by Artefact with an accompanying exegesis. The artefact is a DVD titled ‘The Art of Editing Australian Screen editors Discuss Creativity in Editing’ presents a high quality research film and the exegesis was titled ‘The ‘Art of Editing’: Creative Practice and Pedagogy’. |
| 2015 | PHD | Arts |
Maintaining our rage: Inside Australia’s Longest-running Music Video Program This thesis described the making of the Australian television program 'Rage'. |
| 2015 | PHD | Other |
Cutback - documentary, web-based repository and Exegesis This was a Doctorate of Creative Arts on a feature length documentary 'Cutback' which was submitted with an Exegesis. |
| 2015 | Honours | Arts | International Australia Television using genre as a way to improve Australian screenwriting approaches. |
| 2014 | Honours | Arts |
Commercial Nature: Representing Nature in David Attenborough’s 3D suite This Honours Thesis examined the 3D production of natural history documentaries. |
| 2013 | PHD | Arts |
‘Heuristic inquiry into the writing process of a Feature film script – The Red Sun Trail’ Creative work PhD, a screen play and an exegesis. |
| 2013 | PHD | Other |
Producing the University Feature Film: Double Happiness Uranium A PhD Creative project about Producing the feature film, Double Happiness Uranium submitted with an exegesis. |
| 2012 | PHD | Other |
‘Going live’: establishing the creative attributes of the live television professional This was a thesis on the field of live multi-camera television production. |
| 2012 | Honours | Other |
Challenging Policy and Perceptions: Environmental Activism in Newcastle and the Hunter Valley 2000-2011 This was a six part radio series plus exegesis on the creative practice of radio production. |
| 2010 | Masters | Arts |
Mapping of the development of the documentary script in relation to key changes within the Australian documentary industry A documentary script on the life of 'Xavier Herbert, My Own Road' and an exegesis were submitted for examination. |
| 2009 | Masters | Arts |
The Key lessons learnt from producing the ABC programme ‘Talking Heads’ A Talk Show/Documentary hybrid in a fast turn-around environment This Master of Arts (Research) was a Creative Thesis where an exegesis and two television programs were submitted for examination. |
| 2008 | Honours | Other |
Writing a Mockumentary Script: A Creative Experience Reflected Through a Practitioner-Based Enquiry Framework Honours creative work project where a script 'Next in Line' was submitted with an exegesis for examination. |
| 2008 | Honours | Other | 'you and i' Short Film and Exegesis |
| 2008 | Honours | Other |
Fantasy Fiction: Writing a children’s fantasy television pilot script using narrative theories and plot conventions, archetypal characters, and relevant themes. This Honours creative work was a script and an exegesis. |
| 2008 | Honours | Other |
Usability and Narrative in Web Design This Honours project looked at usability in website design and was a creative work project. |
| 2007 | Honours | Other |
Mythology as Motif: The Evolution of a Screenplay This Honours creative work was an exegesis and a screen play called 'Rising'. |
| 2005 | Honours | Other |
Reflections in Prospect – Culture and Creativity in Documentary Video Production This Honours Creative work was submitted as an Exegesis and a short film called “Grandmother Minski Part 1: Journey to Babushka”. |
| 2005 | Honours | Arts |
Building Reputation and consent: A case study of establishment public relations at the Newcastle region Maritime Museum 2004/2005. An honours Thesis looking at public relations practices in a community organisation. |
Grant Reviews
| Year | Grant | Amount |
|---|---|---|
| 2019 |
Irish Research Council C3231 - International Govt - Own Purpose - 3231, C3231 - International Govt - Own Purpose - 3231 |
$2,000,000 |
Teaching
| Code | Course | Role | Duration |
|---|---|---|---|
| CMNS3440 |
Media Production Screen Drama University of Newcastle Students make a short (6 minute) fictional film. The course covers scripting, pre-production, production and post-production aspects of film-making. |
Course Coordinator, Lecturer and Tutor | 23/2/2009 - 28/6/2018 |
| CMNS2305 |
Media Production: Television The University of Newcastle, NSW This is a multi-camera television production course where students learn multiple crew roles in the Television studio as well as opportunities to present to camera. |
Course Coordinator, Lecturer and Tutor | 22/2/2010 - 28/6/2020 |
| CMNS2040 |
Music Video Faculty of Science and Information Technology,The University of Newcastle Students studied the Music Video form and then made a Music Video working with local musicians. |
Course Coordinator, Lecturer and Tutor | 27/2/2007 - 30/6/2012 |
| CMNS3450 |
Media Production Project The University of Newcastle, NSW Final year Bachelor of Communication Students get to make a media project of their choice. This course is double weighed. |
Course Coordinator, Lecturer and Tutor | 31/7/2016 - 7/11/2020 |
| CMNS4150 |
Communication Honours V: Research Project The University of Newcastle This course develops a student's skills and competencies in the final preparation and communication of research findings. The research project, as either a thesis or creative project/exegesis, will be finalised under the supervision of the student's honours research supervisor. This students present their preliminary research findings in front of peers. |
Course Coordinator and Tutor | 2/8/2016 - 25/11/2017 |
| CMNS3450 |
Media Production Project The University of Newcastle, NSW Final year Bachelor of Communication Students get to make a media project of their choice. This course is double weighed. |
Course Coordinator, Lecturer and Tutor | 27/7/2009 - 7/11/2013 |
Publications
For publications that are currently unpublished or in-press, details are shown in italics.
Book (5 outputs)
| Year | Citation | Altmetrics | Link | |||||
|---|---|---|---|---|---|---|---|---|
| 2023 |
McIntyre K, Fulton J, Kerrigan S, Meany M, Entrepreneurship in the Creative Industries: How Innovative Agents, Skills and Networks Interact, Palgrave MacMillan, Basingstoke, UK (2023) [A1]
|
Nova | ||||||
| 2023 |
McIntyre P, Kerrigan S, Fulton J, King E, Williams C, Creativity and Creative Industries in Regional Australia, Springer International Publishing (2023)
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| 2019 | The Palgrave Handbook of Screen Production, Palgrave Macmillian, UK (2019) | |||||||
| 2018 |
McIntyre KCP, Fulton JM, Paton EJ, Kerrigan SM, Meany MM, Educating for Creativity within Higher Education: Integration of Research into Media Practice, Palgrave Macmillan, London, 240 (2018) [A1]
|
Nova | ||||||
| Show 2 more books | ||||||||
Chapter (13 outputs)
| Year | Citation | Altmetrics | Link | ||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 2021 |
Kerrigan S, 'A creative experience: Using Doctoral Research to transition from television professional to screen production academic', The Elephant's Leg Adventures in the Creative Industries, Common Ground, Champaign, IL 360-380 (2021)
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| 2020 |
McIntyre K, Kerrigan S, King E, Williams C, 'The Hunter Region: A Creative System at Work', Regional Cultures, Economies, and Creativity: Innovating Through Place in Australia and Beyond, Routledge, London, UK 201-222 (2020) [B1]
|
Nova | |||||||||
| 2019 |
Kerrigan S, McIntyre KCP, Fulton J, Meany M, 'Systems Centered Learning Approach to Creative Practice in Communication and Media Teaching', Encyclopedia of Educational Innovation, Springer, Singapore, Singapore 119-125 (2019)
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| 2019 | Kerrigan S, 'Innovation in the Arts: Collaborative and Creative Filmmaking Processes', The Oxford Handbook of Group Creativity and Innovation, Oxford University Press, New York, USA 335-352 (2019) [B1] | Nova | |||||||||
| 2019 |
Kerrigan S, McIntyre K, 'Creative Filmmaking Processes, Procedures and Practices: Embodied and Internalized Filmmaking Agency', The Palgrave Handbook of Screen Production, Palgrave Macmillian, UK 3-17 (2019) [B1]
|
Nova | |||||||||
| 2019 | Maher S, Kerrigan S, 'Digital Disruption and Innovation in Distribution: Opportunities for Research-Based Filmmaking in the New Global Screen Ecology', The Palgrave Handbook of Screen Production, Palgrave Macmillian, UK 347-362 (2019) [B1] | Nova | |||||||||
| 2018 | 'Introduction', Screen Production Research: Creative Practice as a Mode of Enquiry, Palgrave Macmilian, UK 1-10 (2018) [B1] | Nova | |||||||||
| 2018 |
Kerrigan SM, 'A 'Logical' Explanation of Screen Production as Method-Led Research', Screen Production Research: Creative Practice as a Mode of Enquiry, Palgrave Macmillian, UK 11-28 (2018) [B1]
|
Nova | |||||||||
| 2018 |
McIntyre P, McIntyre KCP, 'Using Practitioner Based Enquiry (PBE) to Examine Screen Production as a Form of Creative Practice', Screen Production: Creative Practice as a Mode of Enquiry, Palgrave MacMillan, Basingstoke UK 85-102 (2018) [B1]
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Nova | |||||||||
| 2016 |
Kishore V, Kerrigan S, 'Designing the Song and Dance Sequences: Exploring Bollywood s Cinematic Creativity', Salaam Bollywood: Representations and Interpretations, Routledge, India 112-136 (2016) [B1]
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Nova | |||||||||
| 2016 |
Kerrigan SM, 'Reconceptualizing Creative Documentary Practices', The Creative System in Action: Understanding Cultural Production and Practice, Palgrave Macmillan, Basingstoke, UK 125-138 (2016) [B1]
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| Show 10 more chapters | |||||||||||
Journal article (34 outputs)
| Year | Citation | Altmetrics | Link | ||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| 2024 |
English H, Drummond J, Kerrigan S, 'Im/possible musical selves: experiences of female music students in a music degree', Australian Educational Researcher, (2024) [C1] Recent studies and media articles draw attention to gender imbalances in the music industry, both locally in Australia and globally. In Australia, there have been calls to overhau... [more] Recent studies and media articles draw attention to gender imbalances in the music industry, both locally in Australia and globally. In Australia, there have been calls to overhaul tertiary music programmes to support and encourage female students into careers such as sound production, screen composition and contemporary music performance, where women are greatly underrepresented. Taking up this call, we investigated the experiences of women in a music degree programme at a regional university. Positioned as a music education study at tertiary level, we focussed on any barriers female students perceived to be affecting their participation in specific music courses. We took a phenomenological approach, collecting data through focus groups and examining the data through a ¿possible selves¿ framework, as described by Markus and Nurius. The findings from the focus groups indicated that female students felt unconfident about some career paths, which they described as male-dominated, notably in the STEM-focussed music technology courses, and perceived some learning environments as not gender-inclusive. The ¿possible selves¿ framework pointed to the role of emotions in female students¿ learning experiences. The importance of positive emotions for confident learning is applicable to other higher education disciplines, particularly those in STEM.
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| 2023 |
Kerrigan S, Criticos H, Kerrigan V, Ritchie S, 'Podcasting as a Creative Practice and the Spirit of Radio: Local Histories of Maitland', JOURNAL OF RADIO & AUDIO MEDIA, 30 623-642 (2023) [C1]
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| 2023 |
Kerrigan S, Grushka K, Chand A, Street K, Shadbolt J, Lawry M, 'Creative industries careers: shifting aspirations and pathways from high school to university-a NSW case study', AUSTRALIAN EDUCATIONAL RESEARCHER, 50 1663-1681 (2023) [C1]
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| 2023 |
Fulton J, Kerrigan S, McIntyre P, 'Extended-mixed methods: a new research paradigm for the creative industries', Communication Research and Practice, 9 103-120 (2023) [C1] Quantitative, qualitative and mixed methods designs are accepted approaches to researching the creative industries. However, while these bring a depth of understanding, they do no... [more] Quantitative, qualitative and mixed methods designs are accepted approaches to researching the creative industries. However, while these bring a depth of understanding, they do not generally include an understanding of the ¿making¿ of a creative artefact; practitioners in the creative industries make creative products. A first-hand examination of the ¿making¿, via an approach such as creative practice as research, provides a much-needed account of creative activity in the creative industries. But we take this argument further and provide a rationale for using creative practice as research alongside quantitative and qualitative approaches in a new research approach called extended-mixed methods. This paper discusses this approach and demonstrates that it can be defended within a constructionist epistemology.
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Nova | |||||||||
| 2020 |
Kerrigan S, McIntyre P, Fulton J, Meany M, 'The systemic relationship between creative failure and creative success in the creative industries', Creative Industries Journal, 13 2-16 (2020) [C1]
|
Nova | |||||||||
| 2020 |
Kerrigan S, David Ryan M, McIntyre P, Cunningham S, McCutcheon M, 'The creative sustainability of screen business in the Australian regions', Studies in Australasian Cinema, 14 111-129 (2020) [C1] 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 mad... [more] 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.
|
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| 2020 |
Grushka K, Lawry M, Chand A, Kerrigan S, 'Creative Industries: Teacher perceptions of higher education study
and job futures in regional and remote NSW, Australia', Australian Art Education, 41 29-52 (2020) [C1]
|
Nova | |||||||||
| 2019 | Kerrigan S, Verdon J, 'Filmmaking Research Network: Surveying Films, Peers and Creative Practice', Refractory: a journal of entertainment media, 33 1-23 (2019) [C1] | Nova | |||||||||
| 2019 |
Kerrigan S, McIntyre KCP, 'Practitioner Centered Methodological Approaches to Creative Media Practice Research', Media Practice and Education, 18 1-21 (2019) [C1]
|
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| 2018 |
Aquilia P, Kerrigan S, 'Re-visioning screen production education through the lens of creative practice: an Australian film school example', Studies in Australasian Cinema, 12 135-149 (2018) [C1]
|
Nova | |||||||||
| 2017 |
Kerrigan SM, 'Filmmaking as Creative Practice: Assessing Creative Magnitude and Scale', Global Media Journal : Australian Edition, 10 1-11 (2017) [C1]
|
Nova | |||||||||
| 2016 |
Maher S, Silver J, Kerrigan S, 'Australian feature films and distribution: industry or cottage industry?', Studies in Australasian Cinema, 10 114-128 (2016) [C1]
|
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| 2016 |
Maher S, Kerrigan S, 'Noirscapes: Using the screen to rewrite Los Angeles noir as urban historiography', Journal of Writing in Creative Practice, 9 87-104 (2016) [C1]
|
Nova | |||||||||
| 2016 |
Kerrigan S, Velikovsky JT, 'Examining documentary transmedia narratives through
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Nova | |||||||||
| 2016 |
Kerrigan SM, Leahy G, Cohen H, 'Still a burning issue: measuring screen production research', Studies in Australasian Cinema, 10 79-96 (2016) [C1]
|
Nova | |||||||||
| 2016 |
Kerrigan SM, Hutchinson S, 'Regional Creative Industries: transforming the Steel City into a Creative City in Newcastle, Australia', Creative Industries Journal, 9 116-129 (2016) [C1]
|
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| 2016 |
Kerrigan S, 'The spectator in the film-maker: re-framing filmology through creative film-making practices', Journal of Media Practice, 17 186-198 (2016) [C1]
|
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| 2016 |
Kerrigan S, Batty C, 'Re-conceptualising screenwriting for the academy: the social, cultural and creative practice of developing a screenplay', New Writing, 13 130-144 (2016) [C1]
|
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| 2015 |
Kerrigan S, Berkeley L, Maher S, Sergi M, Wotherspoon A, 'Screen production enquiry: a study of five Australian doctorates', Studies in Australasian Cinema, 9 93-109 (2015) [C1]
|
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| 2015 |
Kerrigan S, Batty C, 'Looking back in order to look forward: re-scripting and re-framing screen production research', Studies in Australasian Cinema, 9 90-92 (2015) [C3]
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| 2015 | Kerrigan SM, Batty C, 'Editor. Special Issue: Looking Back in Order to Look Forward: Re-Scripting and Re-Framing Screen Production Research', Studies in Australasian Cinema, 9 (2015) [C6] | ||||||||||
| 2014 |
McIntyre P, Kerrigan S, 'Pursuing extreme romance: change and continuity in the creative screen industries in the Hunter Valley', Studies in Australasian Cinema, 8 1-17 (2014) [C1]
|
Nova | |||||||||
| 2013 |
Kerrigan S, Aquilia P, 'Student film collaboration: The east-west dilemma', Journal of International Communication, 19 147-166 (2013) [C1]
|
Nova | |||||||||
| 2013 |
Kerrigan S, 'Accommodating creative documentary practice within a revised systems model of creativity', Journal of Media Practice, 14 111-127 (2013) [C1]
|
Nova | |||||||||
| 2011 | Kerrigan SM, Aquilia P, Holt J, Oughton N, 'Australian universities approaches to occupational risk management for screen production', Text, 15 1-14 (2011) [C1] | Nova | |||||||||
| 2011 | Kerrigan SM, Aquilia P, 'Globalising Australian screen production curricula', Text, 15 1-11 (2011) [C1] | Nova | |||||||||
| 2010 | Kerrigan SM, 'Creative practice research: Interrogating creativity theories through documentary practice', Text, 1-16 (2010) [C1] | Nova | |||||||||
| 2010 |
Kerrigan SM, McIntyre KC, 'The 'creative treatment of actuality': Rationalizing and reconceptualizing the notion of creativity for documentary practice', Journal of Media Practice, 11 111-129 (2010) [C1]
|
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| Show 31 more journal articles | |||||||||||
Conference (41 outputs)
| Year | Citation | Altmetrics | Link | ||
|---|---|---|---|---|---|
| 2021 |
Kishore V, McIntyre K, Kerrigan S, 'Bollywood's Creative Industries in Australia: Perspective on Cultural Flows, the Tourist Dollar and the Cooperation of Creative Labour', University of Newcastle (2021)
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| 2021 |
Kerrigan S, Ryan M, McIntyre K, Cunningham S, McCutcheon M, 'Screen Business in the Regions: Balancing the Production of Corporate and Passion Projects', University of Newcastle (2021)
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| 2021 | Aquilia P, Smith F, Kerrigan S, 'Adapting the TV writers Room for Industry Partners', University of Newcastle (2021) | ||||
| 2017 |
Kerrigan SM, McIntyre KP, 'Regional creative screen industries: An examination of SMEs, creative practitioners and screen organisations in Australia's Hunter region', Refereed Proceedings of the Australian and New Zealand Communication Association Conference 2017 - Communication Worlds: Access, Voice, Diversity, Engagement, University of Sydney (2017) [E1]
|
Nova | |||
| 2016 |
Kerrigan SM, Williams CL, Balnaves M, Hutchinson S, King E, McIntyre K, ' How creative, how industrial? : Attitudes to the term creative industries in the Hunter Region', Refereed proceedings of the Australian and New Zealand Communication Association conference: Creating Space in the Fifth Estate, Newcastle, NSW (2016) [E1]
|
Nova | |||
| 2016 |
Balnaves M, Kerrigan S, King E, McIntyre K, Williams C, 'Creative Industries Entrepreneurship: the Hunter', Refereed proceedings of the Australian and New Zealand Communication Association conference: Creating Space in the Fifth Estate, Newcastle, NSW (2016) [E1]
|
Nova | |||
| 2016 | Kerrigan S, Callaghan J, 'The filmmakers research perspectives: an overview of Australian and UK filmmaking research', Refereed Proceedings: Australian Screen Production Education and Research Association Annual Conference, University of Canberra (2016) [E1] | Nova | |||
| 2015 | Kerrigan SM, 'Filmmaking Creativity: embodying and internalizing the positions of the filmmaker and the spectator', Manchester (2015) [O1] | ||||
| 2015 | Kerrigan SM, 'The filmmaker as spectator: creating the diegesis by reflecting on on-set filmmaking practices', Adelaide, S.A. (2015) [E3] | ||||
| 2015 |
Kerrigan SM, McIntyre P, 'Re-framing Regional Creative Screen Industries: an examination of enterprises, agencies, workers in Australia s Hunter Region', Manchester (2015) [O1]
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| 2015 | Kerrigan SM, 'The spectator in the filmmaker: a cogitative semiotics inspection of continuity through creative filmmaking practices.', QUT Brisbane (2015) [E3] | ||||
| 2014 |
McIntyre P, Balnaves M, Kerrigan SM, Williams C, King E, 'Creative industries in the Newcastle LGA: are they reliant on social media?', Refereed Proceedings of the 2014 ANZCA Conference: The digital and the social: communication for inclusion and exchange, Swinburne University of Technology (2014) [E1]
|
Nova | |||
| 2012 |
Kerrigan SM, Aquilia P, Payne CL, 'Investigating a global tertiary curriculum through concepts of eastern and western creativity', Refereed Proceedings of the 2012 Australian and New Zealand Communication Association Conference, Adelaide, SA (2012) [E1]
|
Nova | |||
| 2012 |
Aquilia P, Kerrigan SM, Payne CL, 'Student film collaboration: The East-West dilemma', 62nd Annual Conference of the International Communication Association. Abstracts, Phoenix, AZ (2012) [E3]
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| 2011 | Aquilia P, Kerrigan SM, 'East meets west: Student collaboration styles in screen production education', Australian Screen Production Education and Research Association 2011 Conference, Perth (2011) [E3] | ||||
| 2010 | Oughton N, Kerrigan SM, Holt J, 'Managing occupational risk in the creative industries: A new perspective', New Screens, New Producers, New Learning. Australian Screen Production Education and Research Association Conference, Sydney, NSW (2010) [E3] | ||||
| 2010 | Aquilia P, Chua LY, Kerrigan SM, 'Internationalising Australian media production curricula: A cross-cultural study', New Screens, New Producers, New Learning. Australian Screen Production Education and Research Association Conference, Sydney, NSW (2010) [E3] | ||||
| 2009 | Kerrigan SM, 'Applying creativity theories to a documentary filmmaker's practice', ASPERA 2009 Conference Papers, Adelaide, SA (2009) [E1] | Nova | |||
| 2008 | Kerrigan SM, 'Collaborative and creative documentary production in video and online', Proceedings of ISEA2008: The 14th International Symposium on Electronic Art, Singapore (2008) [E1] | Nova | |||
| 2007 | Kerrigan SM, 'Creating documentaries: Collaborative video and online practice', Create World 2007: Apple University Consortium. Sessions, Brisbane (2007) [E3] | ||||
| 2006 | Kerrigan SM, 'Reflecting on Documentary Video Practice', Speculation and Innovation: Applying practice led research in the creative industries, Queensland University of Technology (2006) [E1] | Nova | |||
| 2005 | Kerrigan SM, 'Making Documentaries: Domain Acquisition and the Living History of Fort Scratchley', Research Higher Degree Students Congress June 2004, University of Newcastle (2005) [E2] | ||||
| Show 38 more conferences | |||||
Creative Work (31 outputs)
| Year | Citation | Altmetrics | Link |
|---|---|---|---|
| 2020 | Jordan E, Jordan H, Kerrigan S, Obscura, Online, Sydney Film Festival (2020) | ||
| 2020 | Jordan E, Jordan H, Kerrigan S, Obscura, Online, Sydney Film Festival (2020) | ||
| 2014 | Hutchinson S, Kerrigan SM, Creative Newcastle, Newcastle Museum, Newcastle Museum (2014) [J2] | ||
| 2014 | Hutchinson S, Kerrigan SM, Creativity and Cultural Production in the Hunter, The Real Film Festival, Newcastle Museum (2014) [J2] | ||
| 2008 | Kerrigan SM, Using Fort Scratchley re-deployed: The story of a location in transition, -, Los Angeles, The United States of America (2008) [J1] | ||
| 2007 | Kerrigan SM, Fort Scratchley, http://www.fortscratchley.org (2007) [J1] | ||
| Show 28 more creative works | |||
Other (2 outputs)
| Year | Citation | Altmetrics | Link | ||
|---|---|---|---|---|---|
| 2018 |
Kerrigan S, Verdon J, Aquilia P, 'SI: Creative Practice in Filmmaking and Screen Production', SI: Creative Practice in Filmmaking and Screen Production ( issue.Special Issue: Creative Practice in Filmmaking and Screen Production pp.86-88): Taylor and Francis Ltd. (2018)
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| 2018 |
Kerrigan S, Verdon J, Aquilia P, 'SI: Creative Practice in Filmmaking and Screen Production', SI: Creative Practice in Filmmaking and Screen Production ( issue.Special Issue: Creative Practice in Filmmaking and Screen Production pp.86-88): Taylor and Francis Ltd. (2018)
|
Report (13 outputs)
| Year | Citation | Altmetrics | Link | |||||
|---|---|---|---|---|---|---|---|---|
| 2022 |
Cunningham S, McCutcheon M, Ryan M, Kerrigan S, McIntyre P, Hearn G, ' Creative Hotspots in the regions: Key thematic insights and findings from across Australia'
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| 2021 |
McIntyre K, Kerrigan S, McCutcheon M, 'Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Marrickville.', Australia Research Council and Create NSW, 42 (2021)
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| 2021 |
McIntyre K, Kerrigan S, McCutcheon M, 'Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour', Australia Research Council and Create NSW, 42 (2021)
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| 2020 |
McIntyre K, Kerrigan S, 'Australia's Creative and Cultural Industries and Institutions', Standing Committee on Communication and the Arts, 24 (2020)
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| 2020 |
McIntyre KP, Kerrigan S, McCutcheon M, Cunningham S, 'Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Wollongong', Australia Reserach Council and Create NSW (2020)
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| Show 10 more reports | ||||||||
Thesis / Dissertation (2 outputs)
| Year | Citation | Altmetrics | Link | ||
|---|---|---|---|---|---|
| 2021 |
Cassin A, Getting the Green Light: Community Engagement for Renewable Energies and Low-Carbon Emission Technologies in Australia , University of Newcastle, Australia (2021)
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| 2011 | Kerrigan SM, Creative Documentary Practice: Internalising the Systems Model of Creativity through documentary video and online practice, University of Newcastle (2011) |
Grants and Funding
Summary
| Number of grants | 21 |
|---|---|
| Total funding | $649,312 |
Click on a grant title below to expand the full details for that specific grant.
20211 grants / $5,000
Maitland Podcast - Maitland Steamfest$5,000
Funding body: Maitland City Council
| Funding body | Maitland City Council |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Research Grant |
| Role | Lead |
| Funding Start | 2021 |
| Funding Finish | 2021 |
| GNo | G2100037 |
| Type Of Funding | C2400 – Aust StateTerritoryLocal – Other |
| Category | 2400 |
| UON | Y |
20201 grants / $2,448
2020 FEDUA 'Finish that Output' scheme funding$2,448
Funding body: Faculty of Education and Arts, University of Newcastle
| Funding body | Faculty of Education and Arts, University of Newcastle |
|---|---|
| Project Team | A/Prof S Kerrigan and Prof P McIntyre. |
| Scheme | FEDUA 'Finish that Output' scheme |
| Role | Lead |
| Funding Start | 2020 |
| Funding Finish | 2020 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
20191 grants / $14,896
Creativity in Higher Education Network (CHEN)$14,896
Funding body: Faculty of Education and Arts, University of Newcastle
| Funding body | Faculty of Education and Arts, University of Newcastle |
|---|---|
| Project Team | A/Professor Phillip McIntyre (Lead), Dr Janet Fulton, Dr Susan Kerrigan, Dr Michael Meany |
| Scheme | Strategic Network and Pilot Project Grants Scheme |
| Role | Investigator |
| Funding Start | 2019 |
| Funding Finish | 2019 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
20175 grants / $247,106
Creative Industries Careers: Re-imagining Regional and Remote Students’ opportunities$109,009
Funding body: Department of Education and Training
| Funding body | Department of Education and Training |
|---|---|
| Project Team | Doctor Kathryn Grushka, Doctor Miranda Lawry, Associate Professor Susan Kerrigan, Associate Professor Maree Gruppetta, Doctor Jane Shadbolt |
| Scheme | Higher Education Participation and Partnerships Programme (HEPPP) |
| Role | Investigator |
| Funding Start | 2017 |
| Funding Finish | 2017 |
| GNo | G1601086 |
| Type Of Funding | C2110 - Aust Commonwealth - Own Purpose |
| Category | 2110 |
| UON | Y |
Australian cultural & creative activity: A population & hotspot analysis$88,499
Funding body: ARC (Australian Research Council)
| Funding body | ARC (Australian Research Council) |
|---|---|
| Project Team | Professor Phillip McIntyre, Associate Professor Susan Kerrigan, Professor Stuart Cunningham, Professor Greg Gearn, Associate Professor Patrik Wikstrom |
| Scheme | Linkage Projects |
| Role | Investigator |
| Funding Start | 2017 |
| Funding Finish | 2019 |
| GNo | G1701177 |
| Type Of Funding | C1200 - Aust Competitive - ARC |
| Category | 1200 |
| UON | Y |
Australian cultural & creative activity: A population & hotspot analysis$29,450
Funding body: Create NSW
| Funding body | Create NSW |
|---|---|
| Project Team | Professor Phillip McIntyre, Associate Professor Susan Kerrigan, Professor Stuart Cunningham, Professor Greg Gearn, Associate Professor Patrik Wikstrom |
| Scheme | Linkage Projects Partner Funding |
| Role | Investigator |
| Funding Start | 2017 |
| Funding Finish | 2019 |
| GNo | G1800015 |
| Type Of Funding | C2300 – Aust StateTerritoryLocal – Own Purpose |
| Category | 2300 |
| UON | Y |
Australian cultural & creative activity: A population & hotspot analysis$15,148
Funding body: Creative Victoria
| Funding body | Creative Victoria |
|---|---|
| Project Team | Professor Phillip McIntyre, Associate Professor Susan Kerrigan, Professor Stuart Cunningham, Professor Greg Gearn, Associate Professor Patrik Wikstrom |
| Scheme | Linkage Projects Partner Funding |
| Role | Investigator |
| Funding Start | 2017 |
| Funding Finish | 2018 |
| GNo | G1800017 |
| Type Of Funding | C2300 – Aust StateTerritoryLocal – Own Purpose |
| Category | 2300 |
| UON | Y |
Living Histories of Maitland$5,000
To create and deliver four vodcasts on the History of Maitland. The stories will be developed from existing historical narratives, that are held at the Maitland Library, Maitland Museum and Maitland Costumes and Textiles Museum. The four podcasts will be between 3-4 minutes long and, in their simplest form, will use narration and archival images as storytelling devices. In exploring these themes particular focus will be on how digital maps can be used to connect archival images, location spectific stories and potentially geo-locating archival film and photographic images to trigger story activation/listening. This will be undertaken as a practice-led research project.
Funding body: The Centre for 21st Centuries Humanities, Education and Arts University of Newcastle
| Funding body | The Centre for 21st Centuries Humanities, Education and Arts University of Newcastle |
|---|---|
| Project Team | Dr Susan Kerrigan |
| Scheme | Digital Humanities |
| Role | Lead |
| Funding Start | 2017 |
| Funding Finish | 2017 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
20161 grants / $10,880
Film making Research Network$10,880
Funding body: Arts Humanities Research Council
| Funding body | Arts Humanities Research Council |
|---|---|
| Project Team | Associate Professor Susan Kerrigan, Joanna Callaghan |
| Scheme | Research Grant |
| Role | Lead |
| Funding Start | 2016 |
| Funding Finish | 2018 |
| GNo | G1601203 |
| Type Of Funding | C3400 – International For Profit |
| Category | 3400 |
| UON | Y |
20133 grants / $294,165
Creativity and Cultural Production in the Hunter: an applied ethnographic study of new entrepreneurial systems in the creative industries.$194,165
Funding body: ARC (Australian Research Council)
| Funding body | ARC (Australian Research Council) |
|---|---|
| Project Team | Professor Phillip McIntyre, Conjoint Professor Mark Balnaves, Associate Professor Susan Kerrigan, Mr Peter King, Mr ED Duc |
| Scheme | Linkage Projects |
| Role | Investigator |
| Funding Start | 2013 |
| Funding Finish | 2016 |
| GNo | G1201143 |
| Type Of Funding | Aust Competitive - Commonwealth |
| Category | 1CS |
| UON | Y |
Creativity and Cultural Production in the Hunter: an applied ethnographic study of new entrepreneurial systems in the creative industries.$70,000
Funding body: Technica CPT
| Funding body | Technica CPT |
|---|---|
| Project Team | Professor Phillip McIntyre, Conjoint Professor Mark Balnaves, Associate Professor Susan Kerrigan, Mr Peter King, Mr ED Duc, King, Evelyn, King, Evelyn, Williams, Claire, Williams, Claire |
| Scheme | Linkage Projects Partner Funding |
| Role | Investigator |
| Funding Start | 2013 |
| Funding Finish | 2016 |
| GNo | G1300761 |
| Type Of Funding | C3100 – Aust For Profit |
| Category | 3100 |
| UON | Y |
Creativity and Cultural Production in the Hunter: an applied ethnographic study of new entrepreneurial systems in the creative industries.$30,000
Funding body: Newcastle Business Improvement Association Inc
| Funding body | Newcastle Business Improvement Association Inc |
|---|---|
| Project Team | Professor Phillip McIntyre, Conjoint Professor Mark Balnaves, Associate Professor Susan Kerrigan, Mr Peter King, Mr ED Duc |
| Scheme | Linkage Projects Partner Funding |
| Role | Investigator |
| Funding Start | 2013 |
| Funding Finish | 2016 |
| GNo | G1300762 |
| Type Of Funding | C3200 – Aust Not-for Profit |
| Category | 3200 |
| UON | Y |
20111 grants / $10,000
Globalizing Screen Production Curricula: A Cross-Cultural Study.$10,000
Purpose:UoN’s Bachelor of Communication is delivered off-shore in Singapore. This pilot study explores the delivery of this media program in an eastern and western tertiary sector (Yang, 2003).
Methodology: Exploring the affects of globalization on tertiary education, three methods have been used, drawing on students and graduates from both Callaghan and Singapore.
Findings:Globalised economies have impacted on media practices and social literacies in tertiary education. Further research on students and graduates should help us better understand the point of separation between global and local cultures, and economies.
Funding body: Centre for Teaching and Learning, University of Newcastle
| Funding body | Centre for Teaching and Learning, University of Newcastle |
|---|---|
| Project Team | Dr Susan Kerrigan, Ass/Prof Pieter Aquilia, Cathie Payne |
| Scheme | Teaching and Learning Project Grants |
| Role | Lead |
| Funding Start | 2011 |
| Funding Finish | 2011 |
| GNo | |
| Type Of Funding | Internal |
| Category | INTE |
| UON | N |
20081 grants / $1,700
International Symposium on Electronic Arts 2008, Singapore Management Univeristy, Stamford Road, 25/7/2008 - 1/8/2008$1,700
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Travel Grant |
| Role | Lead |
| Funding Start | 2008 |
| Funding Finish | 2008 |
| GNo | G0189202 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
20073 grants / $33,427
Equity Research Fellowship - Teaching Relief$22,099
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Equity Research Fellowship |
| Role | Lead |
| Funding Start | 2007 |
| Funding Finish | 2007 |
| GNo | G0186938 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
2007 Equity Research Fellowship - Research Grant$10,000
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Equity Research Fellowship |
| Role | Lead |
| Funding Start | 2007 |
| Funding Finish | 2007 |
| GNo | G0187292 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
CreateWorld, Griffith University Southbank, Brisbane, 25/11/2007 - 28/11/2007$1,328
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Travel Grant |
| Role | Lead |
| Funding Start | 2007 |
| Funding Finish | 2007 |
| GNo | G0188358 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
20051 grants / $690
Speculation & Innovation - Applying Practice-Led Research in the Creative Industries, 30 March - 1 April 2005, QUT$690
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Travel Grant |
| Role | Lead |
| Funding Start | 2005 |
| Funding Finish | 2005 |
| GNo | G0185189 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
20043 grants / $29,000
The Living History of Fort Scratchley: Representing a site of historical and community significance in the Newcastle Local Government Area$10,000
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan, Professor Phillip McIntyre, Dr Erik Eklund |
| Scheme | Collaborative Research Grant |
| Role | Lead |
| Funding Start | 2004 |
| Funding Finish | 2004 |
| GNo | G0184229 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
The Living History of Fort Scratchley: Representing a site of historical and community significance in the Newcastle Local Government Area$10,000
Funding body: Newcastle City Council
| Funding body | Newcastle City Council |
|---|---|
| Project Team | Dr Erik Eklund, Associate Professor Susan Kerrigan, Professor Phillip McIntyre |
| Scheme | University Grant Partner Funding |
| Role | Investigator |
| Funding Start | 2004 |
| Funding Finish | 2004 |
| GNo | G0184230 |
| Type Of Funding | Other Public Sector - Local |
| Category | 2OPL |
| UON | Y |
Producing and Directing Video Productions: Exploring the Digital Desktop Production Process$9,000
Funding body: University of Newcastle
| Funding body | University of Newcastle |
|---|---|
| Project Team | Associate Professor Susan Kerrigan |
| Scheme | Early Career Researcher Grant |
| Role | Lead |
| Funding Start | 2004 |
| Funding Finish | 2004 |
| GNo | G0184648 |
| Type Of Funding | Internal |
| Category | INTE |
| UON | Y |
Research Supervision
Number of supervisions
Current Supervision
| Commenced | Level of Study | Research Title | Program | Supervisor Type |
|---|---|---|---|---|
| 2019 | PhD | Exploring the Placement/Replacement of Eurasian Character and Story in Contemporary Australian Writing for Performance | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
Past Supervision
| Year | Level of Study | Research Title | Program | Supervisor Type |
|---|---|---|---|---|
| 2023 | PhD | Exploring the Creative Capacity of The Shoot Out 24 Hour Filmmaking Festival | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
| 2022 | PhD | Twentieth Century Australian Tempera: Meaning, Materials and Methods. Revisiting the Past in Preparation for a Sustainable Art Future | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
| 2022 | PhD | Exploiting the Entrepreneurial Opportunities Presented by a Changing AFL Television Environment: Adopting a Creative and Innovative Approach to Television Broadcasting | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
| 2021 | PhD | Valuing Newcastle’s Theatrical Performing Arts Industries- A systemic approach to unpacking the economic, structural and social challenges faced by the Newcastle theatre industry | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
| 2021 | PhD | Getting the Green Light: Community Engagement for Renewable Energies and Low-Carbon Emission Technologies in Australia | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
| 2021 | PhD | A Study in Cognitive Ecology for a Print-mediated Artistic Practice | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
| 2020 | PhD | White Noise | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
| 2018 | Honours |
Creative Filmmaking Investigating the constraints and enablers in combining live action and animation aesthetics. <p style="line-height:150%;"><span lang="EN-AU">Cultural assumptions surrounding live action and animation, embedded within their signifying systems and further propagated by Hollywood Industry practices, position the two forms as a dichotomy.<span style="color:black;"> </span>Through the creation of the hybrid film ‘Obscura’, the researcher works to understand how the filmmaker can mediate the visual language of animation and live action at the point of convergence and unify these disparate media within the film frame.</span></p><p style="line-height:150%;"><span lang="EN-AU">Through a Practitioner Based Enquiry, this research focuses on uncovering practices – the systems of fabrication – to expose the constraining and enabling elements of hybrid filmmaking. Using Kerrigan’s (2011) Systems View of Creative Practice, it reveals the systemic non-linear process at work to smooth this juncture and create a credible filmic world.<span style="color:black;"> </span>Through practice, this research reconceptualises the dialectics of agent-structure interaction, recognising creativity as a confluence of determinants in an attempt to <span style="color:black;">transcend the dichotomy between animation and live action aesthetics.</span></span></p> |
Communication & Media Studies, University of Newcastle - Faculty of Education and Arts | Sole Supervisor |
| 2018 | Honours |
Animating from Script to Screen: Collaboration and Reconstruction of Story in the Creative System <p style="line-height:150%;"><span lang="EN-AU">Creativity is not individual, or mysterious; rather it is a collaborative set of production dynamics that allow for innovation (Conor 2010). From the perspective of a filmmaker working within the field of systematic creativity, the purpose of this research is to explore the collaborations and negotiations inherent in the script to screen process. The research topic is addressed through the development of the creative project &ndash; a hybrid short fiction film &lsquo;Obscura&rsquo; (2018), which combines three-dimensional (3D) stop motion animation and live <span style="color:black;">action filmmaking. This project was undertaken in collaboration with my twin sister Hannah Jordan. By using </span>the immersive research design of the Practitioners Based Enquiry (Murray &amp; Lawrence 2000), as practitioner researcher, I reflexively examine the film&rsquo;s narrative not as a fixed screenplay form, but an evolving &lsquo;screen idea&rsquo; (MacDonald 2013). </span><span lang="EN-GB">The notion that the final film encompasses the medium&rsquo;s &ldquo;total performance and essential novelty&rdquo; </span><span lang="EN-AU">(Williams 1954 in Umland 1987, p. iv) neglects the complexities of film development. Through the theoretical framework of the Systems View of Creative Practice (Kerrigan 2011), the working life of the filmmaker is examined in terms of social, cultural and cognitive influences within a creative <span style="color:black;">system. In effect, the research aims to situate screenwriting and filmmaking as a dynamic process, not an end product (Batty 2014). The insights generated have the potential to be generalised to contribute new knowledge about the nature of creativity and the creative process. </span></span><strong></strong></p> |
Communication & Media Studies, Faculty of Education and Arts, The University of Newcastle, Australia | Principal Supervisor |
| 2017 | Honours | Success and Learning from Failures: Investigating the role of writer and director in a variety of short film forms using the Systems Model of Creativity | Communication & Media Studies, Faculty of Education and Arts, The University of Newcastle, Australia | Sole Supervisor |
| 2016 | PhD | Towards a New Cultural Paradigm: Fashion Blogging as a Metamodern Practice | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
| 2016 | PhD | Communication, Creativity and Consilience in Cinema: A Comparative Study of the Top 20 Return-on-Investment (RoI) Movies and the Doxa of Screenwriting | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
Research Projects
Creativity in Higher Education 2018 -
The A1 book publication, Educating for Creativity within Higher Education (2018) is about how to go about creating the conditions for bringing novel and valued things into being. It is about Systems Centered Learning (SCL) for creative professionals. This innovative approach to educating for creativity has been developed by this research team at UON to assist teachers, students, and anyone interested in getting the best out of their higher education experience. The research team has been successful in gaining a SNaPP grant to allow them to set up the Creativity in Higher Education Network (CHEN) which has scholars from around the nation who are researching and teaching involved in the network. The research team from UON are now involved in expanding these links by publishing collected papers in an edited book with the scholars who attended a recent symposium organized by the UON research team. This team was praised by world’s leading creativity researcher Prof Mihaly Csikszentmihlayi. He wrote that “the group of researchers at Newcastle who contributed to this book are at the forefront of scholarship dedicated to understanding how humankind has been using creativity in the past, and how the process can be supported in the future. To my knowledge, there has been no previous center anywhere on the planet where such a close-knit and dedicated group of scholars has existed quite like this one.” A Discovery grant application is now under way to investigate the cross cultural implications of the SCL approach to educating for creativity in higher education.
Publications
McIntyre KCP, Fulton JM, Paton EJ, Kerrigan SM, Meany MM, Educating for Creativity within Higher Education: Integration of Research into Media Practice, Palgrave Macmillan, London, 240 (2018) [A1]
Kerrigan SM, McIntyre KCP, Fulton JM, Meany MM, Paton EJ, 'Educating for Creativity: Media Practice Teaching and Research in Higher Education', Hong Kong (2018)
McIntyre KCP, Kerrigan SM, Fulton JM, Meany MM, 'The Creative System in Action Applied through Communication and Media Research and Teaching', Ashland, Oregon, USA (2018)
Collaborators
| Name | Organisation |
|---|---|
| Associate Professor Susan Maree Kerrigan | University of Newcastle |
| Doctor Janet Michelle Fulton | University of Newcastle |
| Doctor Elizabeth Jo Paton | University of Newcastle |
| Doctor Michael Maurice Meany | University of Newcastle |
Edit
News
News • 20 Oct 2016
Congratulations to FEDUA's HEPPP grant awardees
FEDUA researchers from the School of Education and the nascent School of Creative Industries who have been awarded competitive Federal Government funding in the 2016 Higher Education Participation and Partnerships Programme (HEPPP) National Priorities Pool round announced this week. The two FEDUA-led projects are responsible for more than 50% of the total funding awarded to UON.
News • 11 Feb 2014
Bollywood film festival and conference
A century of Bollywood will be celebrated and explored at a University of Newcastle film festival and conference from 20-21 February.
Associate Professor Susan Kerrigan
Position
Honorary Associate Professor
School of Humanities, Creative Ind and Social Sci
College of Human and Social Futures
Focus area
Communication
Contact Details
| susan.kerrigan@newcastle.edu.au | |
| Phone | (02) 4985 4517 |
| Fax | (02) 4921 5896 |
Office
| Room | ICT 3-53 |
|---|---|
| Building | ICT Building |
| Location | Callaghan University Drive Callaghan, NSW 2308 Australia |
Connect with me
NEWS • Oct 20.2016
Congratulations to FEDUA's HEPPP grant awardees
FEDUA researchers from the School of Education and the nascent School of Creative Industries who have been awarded competitive Federal Government funding.
NEWS • Feb 11.2014
Bollywood film festival and conference
Bollywood festival attracts prominent industry guests