Documentary filmmaking involving difficult ethical decision making<\/a><\/strong> Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n What do we choose to attend to, as filmmakers?<\/a><\/strong> Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Thinking through the ethics of working with a vulnerable contributor<\/a><\/strong> Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n People and research<\/a><\/strong> Dr Anna Claydon, University of Leicester<\/p>\n\n\n\n Approaching research for film and for academic contexts<\/a><\/strong> Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Approaching the research process<\/a><\/strong> Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Using \u201cJustine\u201d <\/strong>to explore the canon in a documentary film teaching programme<\/a><\/strong> Professor Michael Renov, University of Southern California<\/p>\n\n\n\n Lecturing and teaching documentary practice<\/strong><\/strong><\/a> Dr. Alexandra Juhasz, Distinguished Professor of Film at Brooklyn College, The City University of New York.<\/p>\n\n\n\n Student responses to two documentary modes in \u201cJustine\u201d<\/strong><\/a> <\/strong>Associate Professor Deirdre Boyle, the New School in New York<\/p>\n\n\n\n Discussing \u201cJustine\u201d<\/a><\/strong> Dr E. Anna Claydon, University of Leicester <\/p>\n\n\n\n How are ethics relevant to a discussion of creative\/documentary practice?<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n Five western philosophers\u2019 ethical frameworks<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n Examining the actions of the filmmaker through an Aristotelian lens<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n Examining the actions of the filmmaker through an Aristotelian lens (2)<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n How would Kant assess the filmmaker?<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n Can or should the actions of the filmmaker promote happiness? Philosopher John Stuart Mill<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n What are the contradictory forces at play in the making of the film? Philosopher Simone de Beauvoir<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n\n\n\n The ethics of care<\/a><\/strong> Professor Dan Geva, Beit Berl College<\/p>\n<\/div><\/div>\n\n\n\n What is the foundational idea of ethical practice for makers?<\/a><\/strong><\/strong> <\/strong>Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Research, production ethics and trus<\/a>t<\/strong><\/strong> <\/strong>Dr Anna Claydon, University of Leicester and Professor Pratap Rughani, University of the Arts London <\/p>\n\n\n\n Can consent can be given in ways other than language?<\/a><\/strong><\/strong><\/strong> <\/strong>Dr Anna Claydon, University of Leicester<\/p>\n\n\n\n When consent becomes assent and dissent<\/a><\/strong><\/strong><\/strong> <\/strong>Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Consent as acceptance and interest <\/a><\/strong><\/strong><\/strong> <\/strong>Dr E. Anna Claydon, University of Leicester and Professor Pratap Rughani, University of the Arts London <\/p>\n\n\n\n Raising questions<\/a><\/strong><\/strong><\/strong><\/strong> Dr Tiffany Fairey, Kings College London<\/p>\n\n\n\n How do you approach informed consent?<\/a><\/strong><\/strong><\/strong> <\/strong>Simon Willmoth, University of the Arts London<\/p>\n\n\n\n How does informed consent operate with a vulnerable contributor<\/a>?<\/strong><\/strong><\/strong> <\/strong>Dr Alison Clark, University College London Institute of Education<\/p>\n\n\n\n How does a vulnerable contributor show they want to participate?<\/a><\/strong><\/strong><\/strong> <\/strong>Associate Professor Deirdre Boyle, The New School<\/p>\n\n\n\n What should I do before I start working with a vulnerable group?<\/a><\/strong> <\/strong><\/strong><\/strong>Professor Dorit Naaman, Queen\u2019s University<\/p>\n\n\n\n How do you negotiate consent with a contributor unable to give consent verbally?<\/a><\/strong><\/strong> <\/strong><\/strong><\/strong>Dr Anna Claydon, University of Leicester, Professor Pratap Rughani, University of the Arts London, Professor Brian Winston, University of Lincoln<\/p>\n\n\n\n How can I tell if the contributor agreed to appear in the film?<\/a><\/strong><\/strong> <\/strong><\/strong><\/strong>Associate Professor Deirdre Boyle, The New School<\/p>\n\n\n\n Consent & relationships with contributor & family<\/a><\/strong><\/strong><\/strong><\/strong> <\/strong>MA Documentary Film @LCC student Ebenezer E. Apea in conversation with Professor Pratap Rughani<\/p>\n\n\n\n Consent, beyond the consent form<\/strong><\/a><\/strong> <\/strong><\/strong><\/strong>Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n Being guided by contributors\u2019 responses<\/a><\/strong> <\/strong><\/strong><\/strong>Dr Alison Clark, University College London Institute of Education<\/p>\n\n\n\n Does consent change when contributors tell you more?<\/a><\/strong> <\/strong><\/strong><\/strong>MA Documentary Film @LCC student Ellie Wainwright in conversation with Professor Pratap Rughani.<\/p>\n\n\n\n Representation in a social and cultural context<\/a><\/strong> <\/strong><\/strong><\/strong>Professor Pratap Rughani, University of the Arts London<\/p>\n\n\n\n What is the experience of the individual?<\/a><\/strong><\/strong><\/strong><\/strong><\/strong> Professor Pratap Rughani, University of the Arts London with Dr E. Anna Claydon, University of Leicester<\/p>\n\n\n\n Kate Adams talks about commissioning “Justine” for Project Art Works<\/a><\/strong><\/strong> <\/strong><\/strong><\/strong>Kate Adams, Artist & Director Project Art Works<\/p>\n\n\n\n Ways of listening<\/strong> <\/a><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong>Iris Wakulenko, sound recordist on “Justine”<\/p>\n\n\n\n How I would decide an approach to making a film with a vulnerable contributor?<\/a><\/strong><\/strong> <\/strong><\/strong><\/strong>Professor Dorit Naaman, Queen\u2019s University<\/p>\n\n\n\n Listening to breath<\/a><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong> Agn\u0117 Giedraityt\u0117 in conversation with Professor Pratap Rughani & sound recordist Iris Wakulenko<\/p>\n\n\n\n The purpose of your research<\/a><\/strong><\/strong><\/strong> <\/strong><\/strong><\/strong>Dr Alison Clark, University College London Institute of Education<\/p>\n\n\n\n Representation matters; communication through voice and being seen<\/a> <\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong>Dr Anna Claydon, University of Leicester<\/p>\n\n\n\n Behalfism<\/a><\/strong> <\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong><\/strong>Professor Pratap Rughani, University of Arts London & Dr Anna Claydon, University of Leicester<\/p>\n\n\n\nEducation<\/h4>\n\n\n\n
Consent<\/h4>\n\n\n\n
Representation<\/h4>\n\n\n\n