Dr Simon Weaving
Senior Lecturer
School of Humanities, Creative Ind and Social Sci
- Email:simon.weaving@newcastle.edu.au
- Phone:(02) 43494591
Behind the big screen
How does the filmmaking industry keep up with the increasingly digitised world? That is what Dr Simon Weaving is examining through his research into virtual reality filmmaking and efforts to keep the cinema industry relevant in light of the increasing popularity of television streaming services.
Australia has highest cinema ticket prices in the world but also has the second highest per capita rate of cinema consumption, so there’s no doubt that as a whole Australians love movies. But dig a little deeper into the statistics and you find some worrying trends.
Dr Simon Weaving, a filmmaker and academic with the School of Creative Industries, says that, with the increasing use of television streaming services such as Stan and Netflix, the frequency with which people visit the cinema is dropping. This has left the film industry asking ‘how do we make going to the cinema a habit again rather than a one-off night out?’
“My background is in filmmaking and what I’ve discovered since becoming a film academic is that there is very little research done on this industry,” Dr Weaving said. “It’s one of those businesses where people mostly go by gut feeling and there’s not a lot of emphasis on deep research. My aim is to change that by developing a research network with key organisations within the Australian film industry. It’s an exciting initiative and one that I hope will create a research agenda that is really industry focused and will help solve the problem of the moment, which is when you can buy a ten dollar a month subscription service, why go to the cinema?” Dr Weaving asked.
Dr Weaving says that the unique features of going to a cinema are not being experienced by the younger generation who are more likely to ‘Netflix and chill’ on a Friday night than venture out to the local ‘flicks’.
“People over 25 tend to already have a cinema habit because they experienced it before the introduction of television streaming and most surveys show they still think cinema is the best place to watch a movie. But the younger generation don’t necessarily think that and see the cinema as a kind of old school way of experiencing films. Which raises the question of how does the movie industry drag itself away from its 1950s model of mass communication for film distribution, which is clearly no longer valid in a user experience connected world?’
“For a number of different film genres the shared experience of watching a film in a cinema becomes very important. There’s nothing like watching a comedy or horror film in a big cinema with other people. Through my research I want to make sure the younger generation maintain the understanding of the power of that shared experience and the unique nature of cinema.”
Dr Weaving is working with the lead players in the Australian film industry to shape a research agenda that delves into the challenges facing the industry today.
“One of the key things we are going to do is map the customer journey so the industry players understand that the customer is not just thinking ‘what movie do I want to go to and where is it on’; it’s much more involved than that,” Dr Weaving said.
“There’s some fabulous research showing that a key part of the cinema experience is about memory making. For a lot of people it’s the only time they can get out without their kids and for younger people it’s a chance to hang out in a space of their own with their friends. There are some powerful memories created in the cinema, for example many people have their first girlfriend/boyfriend date at the cinema. I want to understand the dynamics of the customer journey and their experience and how the industry can tap into that to influence customer decision making.”
Dr Weaving’s network plans to use Newcastle as a test bed for detailed market research with test audiences, questioning their attitudes and conducting focus groups to understand how they perceive cinema and to provide an alternative way of understanding the user experience.
“The industry uses a mass communication model which we think is out of date. We’re saying it’s much more complex than just making a product, communicating it to the audience and then they buy it. We’re saying let’s unpack that experience and really understand it.”
The new world of virtual reality
Emerging technology such as virtual reality is having an impact on the film industry and raises never before asked questions such as ‘how do you write a script for virtual reality when the audience is immersed in the scenario’ and ‘how do you direct for virtual reality when you can’t be on the set’?
It’s these types of questions Dr Weaving set out to answer in his virtual reality filmmaking research project that saw him create a movie called Entangled. He says it was a fascinating experience that presented many challenges.
“All the traditional filmmaking rules change when you’re using virtual reality.Firstly you’ve got to work out why you’re making something with virtual reality - a lot of the VR movies I’ve seen are better suited to traditional filmmaking. Virtual reality is to do with total immersiveness. When the viewer puts on the headset they’re in the middle of your film and they can look wherever they want, you can’t control where the viewers gaze is going to be. In traditional filmmaking you can say I want you to look at this small detail or look at this wide shot, but in virtual reality this story-telling control disappears but is replaced with this wonderful ability to immerse someone in a more sensory way,” Dr Weaving said.
“In Entangled we developed a story where you are in placed right in the heart of the experience. At a technical level the camera has to be in the middle of the set and action takes place around it. That then means the director and camera operator can’t be on set, which poses lots of technical questions to consider alongside the bigger issue of working out the immersive story telling idea.”
Dr Weaving documented his experience of making the virtual reality film and will use this research to write a journal article on the emerging industry.
“Someone recently said to me ‘virtual reality filmmaking now is where the film industry was in 1912’. Everyone is still working out the best ways to do it and what processes to use.”
Neurophysics and filmmaking
Traditionally movies that are close to being finished are shown to test audiences who then fill out a questionnaire giving their impressions of the movie. Dr Weaving and his colleague Dr Marc Adam from the University of Newcastle are pioneering a significantly more scientific way to test audience reactions to films.
“We monitor the audience’s neurophysiology while they are watching the film, and use this data to help determine the audience’s emotional state. We can then compare this data to what the film maker was intending the audience to feel,” Dr Weaving said.
The duo recently piloted this process with a Hollywood short filmmaker who had a high-budget action short-film in postproduction.
“We got him to identify 10 moments of the film and what emotion he wanted to illicit from the audience at those points in time. We then hooked up our test subjects to the system and had them watch the film. We measured their neurophysical responses and also had them self report on their feelings.”
“The film maker found the feedback most amazing. We identified moments where the audience were feeling annoyed or frustrated rather than scared, which allowed the film maker to make changes and adjust the film to try and get the desired emotion from the audience.”
Dr Weaving has produced two publications from this research and is aiming to apply for funding to expand the research further onto a larger test group and longer film.
“One of the real questions that we need to clear up is how do you know what emotion a person’s heart rate or palm sweatiness equals? Does it equal fear or excitement? There aren’t direct correlations yet between neurophysiological outputs and emotions. We’re very interested in exploring this in more detail.”
Behind the big screen
How does the filmmaking industry keep up with the increasingly digitised world? That is what Dr Simon Weaving is examining through his research into virtual reality filmmaking and efforts to keep the cinema industry relevant in light of the increasing…
Career Summary
Biography
Simon Weaving is a Lecturer in Communication and Media at the University of Newcastle with research interests in film production and distribution, narrative theory, Australian cinema, screenwriting, and the way that film genre is used to create meaning by those involved in the production, distribution and consumption of cinema.
A filmmaker, writer, festival director, film critic and commentator, Simon was Director of the Canberra International Film Festival from 2009-2012, Founder and Co-Director of the Stronger Than Fiction Documentary Film Festival held annually in Australia’s National Capital each July, and currently curates the Winter Film Series at the National Gallery of Australia.
Simon has made a number of award-winning short films, including Waiting For Robbo (2011) that had its world premiere at the Cannes Film Festival in 2012 and which won Best Film at the Canberra Short Film Festival the same year. Twice a Tropfest finalist, and runner-up in AD:05 (the national Art of Documentary competition), Simon wrote and directed the feature film The Competition in 2014.
Simon is a member of the Australian Film Critics Association, the Fédération Internationale de la Presse Cinématographique (FIPRESCI), and was a founding member of the ACT Screen Industry Association (ACTSIA), serving on its Advisory Committee from 2010 until 2014. He was the lead film critic for The Canberra Times from 2004-2014 and appeared regularly on 666ABC Radio commentating on cinema.
Prior to his work in the film industry Simon worked as a management consultant for a number of leading international consulting firms. He lived and worked across the Asia-Pacific region, including the remote highlands of Papua New Guinea (where he won an international award whilst working for PriceWaterhouseCoopers), as well as Fiji, Singapore and Indonesia, where he worked with organizational development theorist Professor Elliott Jacques. He also consulted to the NSW Ministry for the Arts, in projects involving regional theatre, the Crafts Council of NSW and the Sydney Symphony Orchestra, and worked with many of Australia’s leading theatre companies as a producer (in 1990 he produced Magpie Theatre Company’s Adelaide Festival hit Funerals & Circuses, starring Paul Kelly, and co-produced the accompanying album). His time as a management consultant left Simon with an abiding interest in systems theory, human motivation and the integrative power of communication.
Qualifications
- Doctor of Philosophy, University of Canberra
- Bachelor of Business, University of Technology Sydney
Keywords
- Australian Film Industry
- Cinema
- Media Production
- communications
- creative industries
- genre
Languages
- English (Mother)
Fields of Research
Code | Description | Percentage |
---|---|---|
470214 | Screen and media culture | 100 |
Professional Experience
UON Appointment
Title | Organisation / Department |
---|---|
Senior Lecturer | University of Newcastle School of Creative Industries Australia |
Publications
For publications that are currently unpublished or in-press, details are shown in italics.
Chapter (2 outputs)
Year | Citation | Altmetrics | Link | ||
---|---|---|---|---|---|
2022 |
Weaving S, 'Creating the Low-Budget Feature Film Script: Development as Emergence', The Palgrave Handbook of Script Development, Palgrave Macmillan, Cham, Switzerland 59-70 (2022) [B1]
|
Nova | |||
2021 | Weaving S, 'Black Swan, Red Line. A cinematic trip to the underworld (and back).', The Elephant's Leg: Adventures in the Creative Industries, Common Ground Research Networks, Australia 49-66 (2021) [B1] |
Journal article (4 outputs)
Year | Citation | Altmetrics | Link | ||||||||
---|---|---|---|---|---|---|---|---|---|---|---|
2021 |
Weaving S, 'Evoke, don t show: Narration in cinematic virtual reality and the making of entangled', Virtual Creativity, 11 147-162 (2021) [C1] Over the past three years, cinematic virtual reality (CVR) has emerged as a form of media storytelling that takes advantage of the immersive properties of VR technol-ogy. However,... [more] Over the past three years, cinematic virtual reality (CVR) has emerged as a form of media storytelling that takes advantage of the immersive properties of VR technol-ogy. However, as a practice it poses a number of challenges for the writer¿director used to controlling the frame through which the viewer experiences the narrative. This research outlines the making of Entangled (a live-action, stereoscopic, VR experience incorporating ambisonic audio) and reflects on concept development and production decision-making with reference to the emerging body of academic knowledge about cinematic VR, in particular ideas about the position of the viewer and the nature of narration. The research addresses some of the gaps in knowledge in these areas, reconciling theoretical positions with a deep understanding of the realities of production processes.
|
Nova | |||||||||
2020 |
Weaving S, Hight C, Nobes K, Pasvolsky C, 'Working with the Australian cinema industry to understand the movie-going experience', Studies in Australasian Cinema, 14 80-94 (2020) [C1] Although box office receipts for the theatrical release of movies have remained consistently high over the past decade, this tends to mask a slow erosion in the frequency of movie... [more] Although box office receipts for the theatrical release of movies have remained consistently high over the past decade, this tends to mask a slow erosion in the frequency of movie-going among the Australia population. Australians, it appears, are gradually losing the habit of going to the movies. This decline sits in marked contrast to increasing numbers of audiences preferring to engage with cinematic content through VOD and other digital platforms. Our engagement with industry stakeholders highlights the concerns of the Australian distribution and exhibition sectors of the industry about competition from a range of competing leisure and entertainment opportunities for Australian consumers. In this paper we argue that it is vital for the local industry to revise its current model of movie-going audiences, in order to better understand what consumers think about the ¿cinematic experience¿ and how they value this experience in relation to the variety of competition from other leisure and entertainment experiences. We outline the opportunities to draw from insights across multiple disciplinary fields, in particular to explore the implications of applying ¿the customer journey¿ to understanding the variety of social and material factors which may be in play in informing the decision-making of movie-going audiences.
|
Nova | |||||||||
2020 |
Kerrigan S, Weaving S, 'Editorial', STUDIES IN AUSTRALASIAN CINEMA, 14 78-79 (2020)
|
||||||||||
2018 |
Weaving S, Pelzer S, Adam MTP, 'The cinematic moment: improving audience testing of movies', STUDIES IN AUSTRALASIAN CINEMA, 12 89-103 (2018) [C1]
|
Nova | |||||||||
Show 1 more journal article |
Conference (4 outputs)
Year | Citation | Altmetrics | Link | |||||
---|---|---|---|---|---|---|---|---|
2022 |
Weaving S, 'We d Like to Give You some Presence:
Cinematic VR narration and the sense of 'being there'', Newcastle, NSW, Australia (2022)
|
|||||||
2019 |
Pelzer S, Adam MTP, Weaving S, 'NeuroIS for decision support: The case of filmmakers and audience test screenings', Information Systems and Neuroscience: NeuroIS Retreat 2018, Vienna, Austria (2019) [E1]
|
Nova | ||||||
2016 | Weaving SHB, 'No walk into paradise: the Australian film industry in the 1950s', Refereed proceedings of the Australian and New Zealand Communication Association Conference: Creating Space in the Fifth Estate, Newcastle, N.S.W. (2016) [E1] | Nova | ||||||
2016 | Weaving SHB, 'Rethinking genre theory for screenwriting practice: using Mikhail Bakhtin s theory of discourse', ASPERA Annual Conference Refereed Proceedings 2016, Canberra, A.C.T. (2016) [E1] | Nova | ||||||
Show 1 more conference |
Creative Work (17 outputs)
Year | Citation | Altmetrics | Link |
---|---|---|---|
2022 | Weaving S, Entangled, Australia (2022) | ||
2022 | Weaving S, Almost The Night, Australia (2022) | ||
2018 | Weaving SHB, Kingsland D, Stronger Than Fiction Documentary Film Festival 2018, Palace Electric Cinemas, Canberra (2018) | ||
2015 | Weaving SHB, Kingsland D, Stronger Than Fiction Documentary Film Festival 2015, Palace Electric Cinemas (2015) | ||
Show 14 more creative works |
Thesis / Dissertation (1 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)
|
Grants and Funding
Summary
Number of grants | 17 |
---|---|
Total funding | $206,563 |
Click on a grant title below to expand the full details for that specific grant.
20232 grants / $75,618
“Let’s talk”: Organ and tissue donation campaign targeting young Australians$73,118
Innovative digital projects to boost awareness about organ and tissue donation for young Australians | Health Portfolio Ministers and Aged Care
Funding body: Australian Organ and Tissue Donation and Transplantation Authority
Funding body | Australian Organ and Tissue Donation and Transplantation Authority |
---|---|
Project Team | Doctor Elaine Xu, Doctor Andrea Cassin, Doctor Stuart McBratney, Doctor Simon Weaving |
Scheme | Community Awareness Grants Program |
Role | Investigator |
Funding Start | 2023 |
Funding Finish | 2023 |
GNo | G2201286 |
Type Of Funding | C1500 - Aust Competitive - Commonwealth Other |
Category | 1500 |
UON | Y |
CHSF Conference Travel Grant$2,500
Funding body: College of Human and Social Futures | University of Newcastle
Funding body | College of Human and Social Futures | University of Newcastle |
---|---|
Scheme | CHSF - Conference Travel Scheme |
Role | Lead |
Funding Start | 2023 |
Funding Finish | 2023 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
20201 grants / $70,000
Media and Entertainment Research Centre (MERCury) establishment program$70,000
Funding body: Faculty of Education and Arts, The University of Newcastle, Australia
Funding body | Faculty of Education and Arts, The University of Newcastle, Australia |
---|---|
Project Team | Dr Simon Weaving (Lead); A/Prof Craig Hight; Dr Simone O'Callaghan; Dr Jane Shadbolt; Dr Ben Matthews; Dr Stuart McBratney; Mr Jack McGrath; Dr Zi Siang See; Claire Pasvolsky; Karen Nobes; Prof Richard Vella. |
Scheme | Research Programs Pilot Scheme |
Role | Lead |
Funding Start | 2020 |
Funding Finish | 2021 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
20198 grants / $14,498
CINEMA 2030: future-proofing the cinema-going experience$5,300
Funding body: Motion Picture Distributors Association of Australia
Funding body | Motion Picture Distributors Association of Australia |
---|---|
Project Team | Doctor Simon Weaving, Associate Professor Craig Hight |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901053 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
12th Screenwriting Research Network International Conferene, 12-14 September 2019, Portugal$2,000
Funding body: Faculty of Education and Arts, University of Newcastle
Funding body | Faculty of Education and Arts, University of Newcastle |
---|---|
Scheme | FEDUA Conference Travel Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
CINEMA 2030: future-proofing the cinema-going experience$1,500
Funding body: Independent Cinema Association
Funding body | Independent Cinema Association |
---|---|
Project Team | Doctor Simon Weaving, Associate Professor Craig Hight |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901058 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
CINEMA 2030: future-proofing the cinema-going experience $1,187
Funding body: Event Cinema
Funding body | Event Cinema |
---|---|
Project Team | Doctor Simon Weaving, Associate Professor Craig Hight |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901054 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
CINEMA 2030: future-proofing the cinema-going experience$1,187
Funding body: Hoyts Cinema
Funding body | Hoyts Cinema |
---|---|
Project Team | Doctor Simon Weaving, Associate Professor Craig Hight |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901056 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
CINEMA 2030: future-proofing the cinema-going experience$1,187
Funding body: Village Entertainment
Funding body | Village Entertainment |
---|---|
Project Team | Doctor Simon Weaving, Associate Professor Craig Hight |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901057 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
CINEMA 2030: future-proofing the cinema-going experience $1,187
Funding body: Reading Entertainment Australia Pty Ltd
Funding body | Reading Entertainment Australia Pty Ltd |
---|---|
Project Team | Doctor Simon Weaving |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901152 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
CINEMA 2030: future-proofing the cinema-going experience$950
Funding body: Australian Independent Distributors Association (AIDA)
Funding body | Australian Independent Distributors Association (AIDA) |
---|---|
Project Team | Doctor Simon Weaving |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2019 |
Funding Finish | 2019 |
GNo | G1901153 |
Type Of Funding | C3100 – Aust For Profit |
Category | 3100 |
UON | Y |
20182 grants / $17,000
Cinema Industry Research Network$15,000
Funding body: University of Newcastle - Faculty of Education and Arts
Funding body | University of Newcastle - Faculty of Education and Arts |
---|---|
Project Team | Associate Professor Craig Hight and Dr Simon Weaving |
Scheme | FEDUA Strategic Networks and Pilot Projects (SNaPP) |
Role | Investigator |
Funding Start | 2018 |
Funding Finish | 2018 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
11th Screenwriting Research Network International Conference, Italy, 13 - 15 September 2018$2,000
Funding body: Faculty of Education and Arts, University of Newcastle
Funding body | Faculty of Education and Arts, University of Newcastle |
---|---|
Scheme | FEDUA Conference Travel Grant |
Role | Lead |
Funding Start | 2018 |
Funding Finish | 2018 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
20172 grants / $11,000
RAPID Project - VR filmmaking$10,000
Funding body: School of Creative Industries
Funding body | School of Creative Industries |
---|---|
Project Team | Simon Weaving, Una Rey, Andy Gallagher |
Scheme | RAPID |
Role | Lead |
Funding Start | 2017 |
Funding Finish | 2018 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
10th Screenwriting Research Network International Conference, New Zealand, September 2017$1,000
Funding body: FEDUA, University of Newcastle
Funding body | FEDUA, University of Newcastle |
---|---|
Project Team | Simon Weaving |
Scheme | FEDUA Conference Travel Grant |
Role | Lead |
Funding Start | 2017 |
Funding Finish | 2017 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
20162 grants / $18,447
NGA Cinema Project$16,447
Funding body: National Gallery of Australia
Funding body | National Gallery of Australia |
---|---|
Project Team | Doctor Simon Weaving, Mr Edith Young |
Scheme | Research Grant |
Role | Lead |
Funding Start | 2016 |
Funding Finish | 2017 |
GNo | G1501374 |
Type Of Funding | C2200 - Aust Commonwealth – Other |
Category | 2200 |
UON | Y |
9th Screenwriting Research Network International Conference, UK, September 2016$2,000
Funding body: Faculty of Education and Arts, University of Newcastle
Funding body | Faculty of Education and Arts, University of Newcastle |
---|---|
Project Team | Simon Weaving |
Scheme | FEDUA Conference Travel Grant |
Role | Lead |
Funding Start | 2016 |
Funding Finish | 2016 |
GNo | |
Type Of Funding | Internal |
Category | INTE |
UON | N |
Research Supervision
Number of supervisions
Current Supervision
Commenced | Level of Study | Research Title | Program | Supervisor Type |
---|---|---|---|---|
2023 | PhD | The Pursuit of the Ecstatic Truth: A Qualitative Practice-Based Enquiry of a Feature-Length Film | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2023 | PhD | How Can The Significance Of Rural Cinema Best Be Expressed In On-Screen Storytelling? | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2023 | PhD | The Episodic Feature - A Roadmap to Reducing Risk in Feature Film Production: A Practical Exploration into how Creating Episodic, Stand Alone Film Sketches can join to Create a Low-Risk yet Still Highly Creative Feature Film | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2020 | PhD | Becoming the Cinematic Frame: The Director’s Pursuit of Embedding Character within the Cinematic Frame in an Experimental Horror Film | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
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 | Co-Supervisor |
2018 | PhD | In Search of Sacredness: Visualising Place through Filmmaking and Participatory Ethnography in Flanders | PhD (Sociology & Anthropology), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
Past Supervision
Year | Level of Study | Research Title | Program | Supervisor Type |
---|---|---|---|---|
2023 | Masters | (Re)Writing The Little Mermaid | M Philosophy (Comm&Med Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2023 | PhD | Slouching Towards Redemption: On The Nature and Process of Screen Redemption | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Principal Supervisor |
2023 | PhD | There’s Something about Stalking | PhD (Comm & Media Arts), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
2022 | PhD | The ¿43 Group and its Legacy in Sri Lanka | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-Supervisor |
2022 | PhD | Painting the Anthropocene’s Agitated Physicality | PhD (Fine Art), College of Human and Social Futures, The University of Newcastle | Co-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 | Co-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 |
Research Projects
Cinema Audience Testing research project 2017 - 2019
Re-imagining the audience testing process for cinema
Whilst filmmakers intuitively believe that the movie experience must be emotionally engaging, audience testing of movies in the continues to follow traditional approaches involving questionnaires and focus groups with insights mainly at the level of overall movie satisfaction. Working with Dr. Marc Adam and RHD student Sandra Pelzer, Dr. Simon Weaving developed a theoretical framework for how the idea of the cinematic moment can support an improved test screening process for filmmakers, providing feedback for decisions about what narrative material is shown to the audience, what sequence it is to be ordered, and what emotional value it must carry. The project also involves the initial testing of the model using a commercially orientated 25-minute film in post-production, supported by interviews with industry practitioners.
Cinema Industry Research Network 2017 - 2018
Dr Simon Weaving and Dr Craig Hight are working with leaders of the Australian Cinema Industry to research current issues in cinema distribution and exhibition. Supported by a FEDUA (UoN) SNaPP Grant and involving an RhD student as a Research Assistant, the research examines the changes occurring in the industry as a result the emergence of online streaming services. In 2017, Simon and Craig produced a discussion paper for industry that suggested a critical need for a renewed understanding of the audience experience of cinema-going and the way it differs from the home-viewing experience.
The project is ongoing and aims to create a joint industry-university research agenda.
Edit
News
News • 28 Oct 2019
Industry partnerships help fund research to future proof the cinema industry
Research will enhance the cinema going experience.
Dr Simon Weaving
Position
Senior Lecturer
School of Humanities, Creative Ind and Social Sci
College of Human and Social Futures
Contact Details
simon.weaving@newcastle.edu.au | |
Phone | (02) 43494591 |
Link | Personal webpage |