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Media, Communication and Production

Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/13

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    ‘Cherished Days’: Children Meet Cinema’s 2025 TIFF Teens short films as experiential mementos of profound and fleeting moments in time
    (UCL Press, 2026-06) Munro, Robert
    This article discusses the three short films made by the young participants in ‘TIFF Teens’, a filmmaking project run by Children Meet Cinema in August 2025 in Tokyo. Through detailed textual analysis of each film, it explores commonalities in how they represent time, memory and the experiences of youth and friendship. I argue that the films demonstrate a notable openness to lived experiences of the world, privileging sensorial experiences over and above narrative and classical continuity norms. Ultimately, I find all three films themselves act as a process of memorialising the experience of participating in TIFF Teens, and a desire to document the fleeting experience of making a film with those one has only just met.
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    Does Research Soothe You? Audiovisual Experimentation, Traumatic Memory, and the Question of the Senses
    (Tallinn University Baltic Film, Media, Arts and Communication School, 2025-12-23) Mosch, Regina
    This article examines how audiovisual artistic research can generate sensorial, inter-relational forms of impact when dealing with trauma and vulnerable bodies. Drawing on the film series what it felt like to dream fire I–III and the co-creative exhibition over/exposed, it proposes touch and breath – as theorised by Butler, Irigaray, Quinlivan and Marks – as conceptual and methodological lenses for understanding how bodies engage with research processes. Through phenomenological analysis, the article shows how artistic research practices can unsettle traditional separations between researcher and researched, instead foregrounding intertwined bodily relations that emerge during creation, collaboration and exhibition. While not therapeutic in intent, these practices can produce moments of soothing, connection and shared vulnerability, particularly in contexts of trauma and queerness. The article argues that such sensorial, affective encounters expand prevailing notions of impact and reciprocity in artistic research, highlighting how research processes themselves may provide a ground for collectivity and shared affects between participants, researchers and viewers alike.
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    Beyond the Stage: Understanding the Benefits of Outdoor Arts, Circus and Spectacle in Scotland: Summary of Main Findings
    (Articulation, 2025-12-15) Blanche, Rachel; O'Grady, Trish
    As a companion to the Full Report of the same title, this summary report highlights the key findings, recommendations and policy messages arising from QMU’s study of outdoor arts, circus and spectacle in Scotland. The study was commissioned by Articulation, Scotland’s network agency for outdoor arts, circus and spectacle.  The findings are intended to raise the policy profile of the practices explored as a vital, multi-skilled and uniquely accessible sector, enabling Articulation to advocate more effectively on their behalf.
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    Beyond the Stage: Understanding the Benefits of Outdoor Arts, Circus and Spectacle in Scotland: Full Report
    (Articulation, 2025-12-15) Blanche, Rachel; O’Grady, Trish
    This report has been commissioned from QMU by Articulation, Scotland’s network agency for outdoor arts, circus and spectacle to address long-standing gaps in the policy understanding of outdoor arts, circus and spectacle.  This document presents full findings from this research documenting the current nature and scope of this work within Scotland’s cultural landscape, including testimony and data from the sector. It is accompanied by a shorter Summary of Main Findings.
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    Failspace Toolkit
    (University of Leeds, 2022) Jancovich, Leila; Stevenson, David; Wright, Lucy; Ridley, Elizabeth; Cunningham, Malaika
    This toolkit builds on findings from Failspace, an AHRC funded research project, which argued that learning from failures needs to be an integral part of creating, delivering and evaluating cultural projects and policies. This toolkit translates the findings from the research into a framework and methodology for practitioners to use to facilitate more open and honest conversations and learn from failure.
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    Knowledge in Digital Space-Time: Thinking about Being
    (Palgrave Macmillan, 2026) Doğan, Taner
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    Equality, Diversity, Inclusion (EDI) in Event Management and Event Tourism
    (Goodfellow Publishers, 2026) Sharp, Briony; Finkel, Rebecca; Fletcher, T.
    In event tourism, equality involves ensuring that international and domestic visitors alike can access and enjoy events, regardless of language, mobility, or cultural background. Diversity in this context includes the representation of global cultures, while inclusion ensures that all tourists feel welcomed and respected throughout their event experience. In recent years, the concepts of equality, diversity, and inclusion (EDI) have gained significant traction across various sectors, including education, healthcare, business, and the creative industries (see Finkel, Sharp & Sweeney, 2018; Calver et al., 2023; Fletcher, Dashper & Albert 2023; Walters & Higgins-Desbiolles 2024; Liu, Hao & Qiu, 2025). These principles are not only ethical imperatives, but also practical necessities in a globalized and increasingly interconnected world. In the events industry—where people from diverse backgrounds come together for shared experiences—EDI plays a particularly crucial role. Events have the power to shape cultural narratives, foster community, and influence public discourse. As such, the way they are designed, managed, and delivered must reflect a commitment to fairness, representation, and accessibility. Inclusive events can enhance a destination’s reputation as welcoming and progressive, which is increasingly important for socially conscious travellers. Conversely, exclusionary practices can damage a destination’s appeal and lead to reputational risk. For example, Pride festivals, Indigenous cultural events, and diasporic heritage festivals often attract international visitors, and serve as platforms for cultural diplomacy and tourism development. Event tourism professionals must navigate diverse cultural expectations and ensure that events are not only inclusive for attendees, but also respectful of, and beneficial to, host communities. This includes cross-cultural communication, inclusive tourism infrastructure, and ethical engagement with local communities. Despite the benefits and expectations of contemporary audiences, research suggests that EDI remains a marginal concern in mainstream events management literature and practice. A recent audit of leading events management journals found that EDI-related research is often confined to special issues and lacks integration into the core body of knowledge. This raises important questions about how EDI is understood, critiqued, and operationalised within the field (Calver et al., 2023). Also, in event tourism, performative inclusion may manifest in destination marketing that highlights diversity without ensuring inclusive infrastructure or community engagement. Tourism boards may promote multicultural festivals without addressing accessibility or the needs of local communities, raising concerns about authenticity and equity (Swartjes & Berkers, 2021). This entry explores the meaning and usage of EDI, critiques surrounding its implementation, and its relevance to both the academic fields of events, event tourism, and the professional practice of events management. The discussion is structured into four main sections: definitions of EDI, critiques of its usage, how EDI plays out in the context of events and event tourism, and its practical implications for event managers.
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    Interaction Design: Where’s the graphic designer in the graphical user interface?
    (2009) Wood, Dave
    This paper will, from a visual communication perspective, explore the role over the last 40 years of the graphic designer within graphical user interface design. I am specifically interested in how graphic design has had to respond to designing for interactions in the new digital media. To do this I will also examine how interactive design has impacted upon graphic design and vice versa. In order to conclude on the present position I will explore the roots and formation of the graphic design discipline formed sixty-six years prior to the formation of the new discipline of interaction design. There are parallels between the two. Focusing upon a literature review of academic visual communication literature this paper scrutinizes limited writing within it on graphical user interfaces. It analyses and evaluates the visual communication literature dialectically through a filter of interaction design writers’ selected writings. In tone and structure this paper is designed to address a proposition that has seldom been addressed fully from my chosen perspective. My research position is shaped by a desire to explore the graphic aspect of graphical user interfaces rather than from the technology/HCI/computer science disciplines. This paper adds to the discourse on how interactions can be facilitated by better graphic design in order to expand visual communication literature and application to practice. The conclusions in the paper set the context for a deeper enquiry into graphical user interfaces from a visual communication perspective, as part of my continuing PhD research.
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    Moving Across the Boundaries: Visual Communication Repositioned in Support of Interaction Design
    (2010) Wood, Dave
    This paper is a theoretical contribution to the research area of Aesthetics of Interaction, but from a Visual Communication perspective. In order to convince those that still see Visual Communication as merely style and artifice, and an internalized and subjective design process, I will use the theses of Dourish ‘Embodied Interactions’ and McCullough’s ‘Digital Ground’ to connect to current HCI research. A Pragmatist philosophical position will be adopted from which to explore this Phenomenological area. This will present the design discipline from a fresher perspective of intellectual, considered and rhetorical discourse, into a richer understanding of the discipline by dispelling two unhelpful myths. Then an argument can be made to reposition Visual Communication as a stronger influence upon Interaction Design.
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    A Can of Worms: Has Visual Communication a Position of Influence on Aesthetics of Interaction?
    (2011) Wood, Dave
    Interaction Design is a young discipline that grew out of an overlap of other science and design disciplines, its remit was the design of interactive products, services and systems for human behaviour. Visual Communication and its output of graphic design once had an early influence on Interaction Design, but this has since been devalued by the influence from more functionalist disciplines, leading to two myths about Visual Communication: it just does the ‘aesthetic bit’ on the interface, and that aesthetics has no real use or function beyond ‘beauty’. But aesthetics cannot be reduced and measured as a functionalist equation of ‘means-end’. By understanding aesthetics from a Pragmatist philosophical position, the aesthetics of interaction can be explored from a situated and culturally connected embodiment of an interactive experience. From this position aesthetics is viewed as emergent from the interactive experience through three factors: a socio-cultural context, a personal embodiment and finally a means-to-many-ends instrumentality. It is a cultural phenomenon and not an engineering problem that can be explored quantifiably. This makes this a phenomenological study, and closer to Visual Communication. The rhetorical nature of Visual Communication affords a change in human behaviour, evoking a cognitive and emotional response, making its remit about framing decision-making from use of image and text. Experience, emotion, and interpretation can only use qualitative methods to explore an aesthetic experience. This raises a more vexing question: what other design disciplines also share or rather claim a phenomenological position on aesthetics? This paper will set out to explore these amorphous boundaries to decide if Visual Communication still has an actual support position of influence on Interaction Design.