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The Creation of Space: narrative strategies, group agency, and skill in Lloyd Jones’s The Book of Fame

In Chris Danta & Helen Groth (eds.), Mindful Aesthetics. Bloomsbury/ Continuum. pp. 141-160 (2014)

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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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  • Collective mental time travel: remembering the past and imagining the future together.Kourken Michaelian & John Sutton - 2019 - Synthese 196 (12):4933-4960.
    Bringing research on collective memory together with research on episodic future thought, Szpunar and Szpunar :376–389, 2016) have recently developed the concept of collective future thought. Individual memory and individual future thought are increasingly seen as two forms of individual mental time travel, and it is natural to see collective memory and collective future thought as forms of collective mental time travel. But how seriously should the notion of collective mental time travel be taken? This article argues that, while collective (...)
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  • 'Yes, and ...': having it all in improvisation studies.John Sutton - 2021 - In J. McGuirk, S. Ravn & S. Høffding (eds.), Improvisation: The Competence(s) of Not Being in Control. Routledge. pp. 200-209.
    As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own (...)
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