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  1. Reframing the director: distributed creativity in film-making practice.Karen Pearlman & John Sutton - 2022 - In Ted Nannicelli & Mette Hjort (eds.), A Companion to Motion Pictures and Public Value. Wiley Blackwel. pp. 86-105.
    Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious individualist assumptions (...)
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  • Giving Ideas Some Legs or Legs Some Ideas? Children’s Motor Creativity Is Enhanced by Physical Activity Enrichment: Direct and Mediated Paths.Nicoletta Tocci, Patrizia Scibinetti, Emiliano Mazzoli, Myrto Foteini Mavilidi, Ilaria Masci, Mirko Schmidt & Caterina Pesce - 2022 - Frontiers in Psychology 13.
    Approaches to foster motor creativity differ according to whether creative movements are assumed to be enacted creative ideas, or solutions to emerging motor problems that arise from task and environmental constraints. The twofold aim of the current study was to investigate whether an enriched physical education intervention delivered with a joint constraints-led and cognitive stimulation approach fosters motor creativity, and the responsiveness to the intervention is moderated by baseline motor and cognitive skills and sex; the intervention may benefit motor creativity (...)
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  • Supporting Holistic Wellbeing for Performing Artists During the COVID-19 Pandemic and Recovery: Study Protocol.Melanie Stuckey, Véronique Richard, Adam Decker, Patrice Aubertin & Dean Kriellaars - 2021 - Frontiers in Psychology 12.
    The COVID-19 pandemic resulted in the abrupt closure of circus schools, venues, and companies, introducing a myriad of novel stressors. Performers and students must now attempt to maintain their technical, physical, artistic, creative, and cognitive abilities without in-person support from their coaches and must manage the isolation from their training and performing spaces. For circus artists, the transposition of the work space to a home environment is not possible, which creates novel stressors that could lead to the exacerbation and escalation (...)
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  • Alternative Object Use in Adults and Children: Embodied Cognitive Bases of Creativity.Alla Gubenko & Claude Houssemand - 2022 - Frontiers in Psychology 13.
    Why does one need creativity? On a personal level, improvisation with available resources is needed for online coping with unforeseen environmental stimuli when existing knowledge and apparent action strategies do not work. On a cultural level, the exploitation of existing cultural means and norms for the deliberate production of novel and valuable artifacts is a basis for cultural and technological development and extension of human action possibilities across various domains. It is less clear, however, how creativity develops and how exactly (...)
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