Papers by Arezou Zalipour
MEDIA PRACTICE AND EDUCATION
Amongst a myriad of articles, chapters and books that argue for
different ways to understand and ... more Amongst a myriad of articles, chapters and books that argue for
different ways to understand and conduct creative practice
research – or as it is otherwise known, artistic research, arts-based
research, practice-led research, practitioner-based research, and
so on – this article goes to the heart of the affordances of
creative practice research and offers what the authors believe is
more generative model for this work, with more productive
terminology. By focusing on a process of research enabling, as
opposed to research being led by, based on or taken through
practice (and vice versa), the article seeks clarity on the
relationship between research questions, research design and
methods; where a contribution to knowledge resides; how,
accordingly, a research project might be written up; and who,
indeed, creative practice researchers are. From our experience of
undertaking, supervising and evaluatingcreative practice research,
we have come to realise that some of the fundamental
challenges of this work reside in a basic understanding of what,
why, how and by whom. We believe that some of the definitions
and models of creative practice research are a contributor to
these challenges, hence a new model with alternative
terminology to help untangle some of the intellectual
complexities we have seen. The discussion uses screen practice as
its disciplinary site, encompassing media/screen production and
screenwriting.
New Zealand Society of Authors , 2024
Multiliteracy is one of the central civic skills that should be focused on in the domain of 21st ... more Multiliteracy is one of the central civic skills that should be focused on in the domain of 21st century education. In this case study, our goal was to design and test a pedagogical model for phenomenonbased learning of multiliteracy, and to find out how multiliteracy could be comprehensively supported in the context of upper secondary school. The data consisted of a questionnaire for students, their written reports, and teacher interviews. Based on the findings, critical factors for the successful implementing of phenomenon-based learning of multiliteracy were found out, and the pedagogical phenomenon-based learning of multiliteracy (PLM) model was developed.
Springer eBooks, 2019
This introductory chapter synthesizes some crucial moments in the history of New Zealand in order... more This introductory chapter synthesizes some crucial moments in the history of New Zealand in order to discuss the social and cultural context in which diasporic film and film-making have emerged and developed in this country. My intention has been to open new ways of thinking about the complexities of migration and diasporic movement within the bicultural framework of New Zealand society as it engages with and is challenged by diasporic formations. In this chapter, I engage with Māori culture in the contemporary social and demographic mix of Aotearoa to draw out connections and also to distinguish Māori representations on screen (including films by Māori) from diasporic representations in New Zealand film and film-making. The chapter also sets out the book’s parameters in its use of the concept of diaspora. With its history of settler colonization, indigenous peoples and a wide range of immigrants arriving not only from the neighbouring islands in the Pacific Ocean but also from as far as the Caspian Sea, the New Zealand context is complex. I believe this complexity demands a rather different approach to the conceptualization of diasporic film and film-making, one rooted in a diasporic consciousness, engendered by the sense and actual experience of displacement and identity (re)construction and negotiation over the course of time. This chapter also introduces the book’s structure: Part I Representation and Production and Part II Behind the Lens: A look Inside the New Zealand Screen Industry.
Media international Australia, incorporating culture and policy, Feb 1, 2016
Review(s) of: D-passage: The digital way, by Trinh T Minh-ha, Durham, NC: Duke University Press, ... more Review(s) of: D-passage: The digital way, by Trinh T Minh-ha, Durham, NC: Duke University Press, 2013; 224 pp. ISBN: 9780822355403, A$24.95.
Media international Australia, incorporating culture and policy, Aug 1, 2012
Review(s) of: A social history of Iranian cinema volume 1: The Artisanal Era, 1897-1941, by Nafic... more Review(s) of: A social history of Iranian cinema volume 1: The Artisanal Era, 1897-1941, by Naficy, Hamid, Duke University Press, Durham, NC, 2011, ISBN 9 7808 2234 7750, 456 pp., US$27.95; A social history of Iranian cinema Volume 2: The industrializing years, 1941-1978, by Naficy, Hamid, Duke University Press, Durham, NC, 2011, ISBN 9 7808 2234 7743, 560 pp., US$27.95.
Media International Australia, Aug 1, 2013
Media practice and education, Mar 28, 2023
Media international Australia, incorporating culture and policy, 2016
Review(s) of: D-passage: The digital way, by Trinh T Minh-ha, Durham, NC: Duke University Press, ... more Review(s) of: D-passage: The digital way, by Trinh T Minh-ha, Durham, NC: Duke University Press, 2013; 224 pp. ISBN: 9780822355403, A$24.95.
Studies in Australasian Cinema, 2019
Journal of Media Practice, 2023
In this article, we analyse and reflect on the complex interweaving
of documentary strategies and... more In this article, we analyse and reflect on the complex interweaving
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
Film International: Journal of World Cinema, 2022
At the 2021 Oscars, we witnessed the historic win of the A24 drama Minari, a semi-autobiographica... more At the 2021 Oscars, we witnessed the historic win of the A24 drama Minari, a semi-autobiographical tale by Korean American director and writer Lee Isaac Chung. While offering a diasporic perspective on the much-fabled American dream, Minari is also rather distinct from diasporic films because it does not concern itself with overt racism and identity politics. Moving beyond the analysis of representations and in conjunction with publicly available interviews with Minari’s creative team, I will present a film analysis that centres on the production choices that have created distinctive cinematic storytelling and style in the film. Whether Chung aimed to make a film about immigrants in America or not, Minari is still a film that offers Asian American representations, because such concepts and images exist beyond the diasporic film and the filmmaker’s thoughts and intentions but in the viewers’ mind and consciousness (see Zalipour 2019). The viewers’ memories and imagination of diaspora and immigrant experiences add a subtext and an emotional content independent of what the film visualizes.
In this article, we analyse and reflect on the complex interweaving
of documentary strategies and... more In this article, we analyse and reflect on the complex interweaving
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
South East Asia Research, 2021
Alternative Spirituality and Religion Review
Intellect Books, Apr 1, 2015
Uploads
Papers by Arezou Zalipour
different ways to understand and conduct creative practice
research – or as it is otherwise known, artistic research, arts-based
research, practice-led research, practitioner-based research, and
so on – this article goes to the heart of the affordances of
creative practice research and offers what the authors believe is
more generative model for this work, with more productive
terminology. By focusing on a process of research enabling, as
opposed to research being led by, based on or taken through
practice (and vice versa), the article seeks clarity on the
relationship between research questions, research design and
methods; where a contribution to knowledge resides; how,
accordingly, a research project might be written up; and who,
indeed, creative practice researchers are. From our experience of
undertaking, supervising and evaluatingcreative practice research,
we have come to realise that some of the fundamental
challenges of this work reside in a basic understanding of what,
why, how and by whom. We believe that some of the definitions
and models of creative practice research are a contributor to
these challenges, hence a new model with alternative
terminology to help untangle some of the intellectual
complexities we have seen. The discussion uses screen practice as
its disciplinary site, encompassing media/screen production and
screenwriting.
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
different ways to understand and conduct creative practice
research – or as it is otherwise known, artistic research, arts-based
research, practice-led research, practitioner-based research, and
so on – this article goes to the heart of the affordances of
creative practice research and offers what the authors believe is
more generative model for this work, with more productive
terminology. By focusing on a process of research enabling, as
opposed to research being led by, based on or taken through
practice (and vice versa), the article seeks clarity on the
relationship between research questions, research design and
methods; where a contribution to knowledge resides; how,
accordingly, a research project might be written up; and who,
indeed, creative practice researchers are. From our experience of
undertaking, supervising and evaluatingcreative practice research,
we have come to realise that some of the fundamental
challenges of this work reside in a basic understanding of what,
why, how and by whom. We believe that some of the definitions
and models of creative practice research are a contributor to
these challenges, hence a new model with alternative
terminology to help untangle some of the intellectual
complexities we have seen. The discussion uses screen practice as
its disciplinary site, encompassing media/screen production and
screenwriting.
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
of documentary strategies and the five levels of performance that
we designed in a small-scale community-centred collaborative
documentary project entitled Shama. Shama Ethnic Women’s
Trust is one of the first NGOs in New Zealand established and run
by ethnic migrant women for ethnic women and their families.
Applying a filmmaking-as-research methodology, the project’s
aim was to respond to the scarcity of screen representation of
ethnic NGOs. The purpose was not only to convey information
about Shama’s activities and services but also to convey a sense
of the internal culture of the NGO and its community spirit. The
portrayal of minority groups in community production often
leads to an outsider-looking-down approach. We felt that
providing an insider view was more important than simply
conveying the facts efficiently about the organisation. This goal
led us to apply a collaborative documentary practice, avoid an
expository style, characterised by a single authoritative voice, and
opt for a mix of performative and observational strategies, in
which multiple voices and modes of address are featured. By
shifting modes of address, we explored the ways in which a
short, no-budget documentary could represent the complexity of
this NGO.
Includes a special section comprised of 'critical dialogue' with directors, scriptwriters, and producers from the New Zealand screen industry
Features a foreword by Prof. Hamid Naficy, the key international figure in theories of diasporic filmmaking