About

Peer-Review for Practice Research

Screenworks is a peer-reviewed open access publication of practice research in film and screen media, edited by Professor Charlotte Crofts (UWE Bristol) and Associate Editors: Will DiGravio (University of Amsterdam); Dr. Shweta Ghosh (University of Reading); Dr. Catherine Gough-Brady (Edith Cowan University, Australia); Dr Matthew Hawkins (London Southbank University); Dr Alexander Nevill (University of Edinburgh); Dr Estrella Sendra Fernandez (Kings College London). Screenworks publishes practice research in the fields of Communication, Media and Cultural Studies, Art and Design, Performing Arts and related areas. We offer a forum for the dissemination and discussion of new knoweldge that draws on practice research contexts. Creative work is published alongside a written statement, which offers a ‘route map’ of the research process, together with two anonymous reviews, which provide critical feedback on both the work itself and its research context.

We accept submissions on a rolling basis as well as for Special Issues. Please see the submissions page for further information about current calls, deadlines, the peer review process and how to submit your work. Please be aware of our accessibility policy, which applies to Vol 12 onwards. Go to our archive to explore previous volumes, including the full supporting research statements and peer reviews for each volume. If you are interested in proposing a Special Issue then please see our special issues policy.

As one of the pioneering journals in academic peer review for practice research, Screenworks provides evidence of the impact, significance, originality, and rigour of the work. We use an open single-blind review policy, publishing anonymous peer reviews alongside the research statement for transparency. Our goal is to foster a supportive yet rigorous research environment for academics in film and screen media practice while engaging wider audiences. Learn more about our evolving editorial approach in Crofts and Nevill (2018).

Screenworks was originally convened in 2006 by Professor Jon Dovey, and Associate editor, Dr Charlotte Crofts, and took the form of a DVD that was distributed with the Journal of Media Practice (JMP) through Intellect Books. Volume 1 was published with JMP (8:2) in September 2007, and Volume 2 with JMP (9:3) in December 2008. Extracts of the works in Volumes 1 & 2 were retrospectively published online when a website for the journal was launched under the banner of JMPScreenworks.com at the JMP Symposium 2011.

The first online volume of Screenworks was released in June 2012 and since then the journal has consistently pioneered new research in film and screen media. We now publish exclusively online in order to disseminate work more widely, save costs and to fulfil the current AHRC and REF research agendas of open access, impact and public engagement. Screenworks migrated to the present website in 2024. We hope that this new home will enable the journal to continue to flourish and grow as both an online publisher of academic film and as a forum for championing practice research in the academy.

References

Charlotte Crofts & Alexander Nevill (2018) Publishing screen media practice research: evolving processes of contextualisation, peer review and future proofing in Screenworks, Media Practice and Education, 19:3, 283-297, DOI: 10.1080/25741136.2018.1529478.

Editorial Team

Professor Charlotte Crofts is Professor of Cinema Arts at the University of the West of England, UWE Bristol, founding editor (with Professor Jon Dovey) and now Editor in Chief of Screenworks and on the editorial board of Open Screens. She was the first MeCCSA Practice Network chair, served on the Executive Committees of both MeCCSA and BAFTSS and co-convenes the BAFTSS Practice Research SIG. She is a filmmaker and creative producer working across film and emerging media, currently developing a feature film adaptation of Angela Carter’s Flesh and the Mirror with support of the BFI Development Fund. She developed two locative heritage apps exploring local screen history in The Curzon Memories App and the Lost Cinemas of Castle Park App and she is now working with ArcGIS StoryMaps to map Bristol’s cinema history. She is director of the Cary Comes Home Festival celebrating Cary Grant’s Bristol roots and sits on the steering committee of Bristol UNESCO City of Film. She has authored a book, Anagrams of Desire: Angela Carter’s Writing for Radio, Film and Television (MUP 2003) and published articles and practice in journals of Media Practice and Education, Moving Image, PostScript, Screenworks, Open Screens and Contempory Women’s Writing.

Dr Alex Nevill is a cinematographer, filmmaker and lecturer at Edinburgh College of Art, The University of Edinburgh. He has photographed several independent feature films as well as award-winning short projects. In conjunction with his practice, Alex is the author of a short book Towards a Philosophy of Cinematography (Palgrave, 2021) and has published work in the Journal of Artistic Research, the Journal of Media Practice and Alphaville Journal of Film and Screen Media. Alex studied filmmaking at the Screen Academy Scotland and completed a PhD in the Digital Cultures Research Centre at UWE Bristol with a scholarship through the AHRC 3d3 Centre for Doctoral Training. Before joining Edinburgh, Alex taught at Kingston University, the Arts University Bournemouth and San Francisco State University. He joined the Screenworks team in 2016. www.alexnevill.com

Dr Shweta Ghosh is a National Award winning documentary filmmaker and researcher from India. She is Lecturer in Screen Practices and industries and a PhD candidate at the Department of Film, Theatre & Television, University of Reading, UK. Her work explores filmmaking processes, onscreen representation, identity and creative practice in India and the global South. Shweta’s ongoing PhD practice research explores disability and film/video expression, and the socio-cultural contexts of accessibility and equity that circumscribe filmmaking by people with disabilities in contemporary urban India. A key outcome of the project is a feature documentary titled We Make Film (80 mins, HDV) to be released in early 2021. Shweta has previously explored a range of subjects through her documentaries and written work, such as disability and sexuality (Accsex), culinary culture, identity and memory (Chatkorichya Athavni/A Slice of Memory) and tea consumption cultures in India (Steeped and Stirred). Her debut film Accsex was awarded the President of India’s National Film Award. As a part-time member of staff at FTT, Shweta teaches on and convenes a range of practical modules on film production, creative industries and pathways, along with critical modules based on her specialisms in disability and Indian cinemas. www.shwetaghosh.com

Dr Catherine Gough-Brady is an award-winning documentary producer and director who publishes on the relational nature of documentary production processes in journals including Media Practice and Education, Screenworks, [in]Transition, The International Journal of Creative Media Research, and Cultural Geographies. She is co-editor of an edited collection exploring the intersection of theory and practice, Constructing the Real (2023). Catherine produced and directed six ABC TV documentary series, including Legal Briefs (2016) and Ethics Matters (2017). Catherine created 11 radio features for ABC Radio National. Her most recent TV half-hour for ABC TV is called The Communicator (2022). Catherine is a senior lecturer at Edith Cowan University in Australia. www.catherinegough-brady.com

Dr Matthew Hawkins is a Senior Lecturer in Film Practice, London South Bank University. Matthew specialises in film practice as research working across fiction film, documentary, ethnography and experimental film. His work engages with grassroot communities, belonging, migration, and the everyday. His PhD, entitled The Concept of Affective Tonality and the Role of the Senses in Producing a Cinematic Narrative, is focused on the concept of affective tonality and the potential of using affect as a tool to produce and conceptualise narrative (in) film practice. His theoretical work draws on the empiricism of Gilles Deleuze, and the wider field of film-philosophy. Matthew’s practice has received funding from the National Lottery and Channel 4, The Arts and Humanities Research Council, The Leverhulme Trust, Team London GLA (Mayor of London), and The Capital Foundation Trust: Grassroots Fund.

Dr Estrella Sendra is a researcher, filmmaker, festival curator and journalist. She is currently working as Lecturer in Culture, Media and Creative Industries Education (Festivals and Events). Prior to that she had worked as Lecturer in Global Media Industries at Winchester School of Art, University of London, where she completed her doctoral thesis 'Two-tier festivals in Senegal between the local and the international: A Case Study of the Festival international de folklore et de percussion in Louga (Senegal)' in 2018. She is the co-author of the ‘Introductory Guide to Video Essays’, available at Learning on Screen (2020) and the author of ‘Video Essays: Curating and Transforming Film Education through Artistic Research’ (2020). Her most recently published video essays include ‘Film as Sound Art: Embracing Love through Extra-diegetic Sound in Nadine Labaki’s Caramel’ in Open Screens (2023) and ‘Displacement, Intimacy & Embodiment: Nearby Alain Gomis’ Multi Sensory Cinema’, in [in]Transition: Journal of Videographic Film & Moving Image (2022). Since 2011, when she directed Témoignages de l’autre côté, an awarded documentary about migration, she has been developing a regional expertise in Senegal. She was the CO-PI of ‘Decolonizing Film Festival Research in a Post-Pandemic World’, funded by the New Frontiers in Research Fund, Government of Canada [NFRFR-2021-00161].

Dr Hamidreza Nassiri is a media scholar, filmmaker, and digital media artist with a PhD in Communication Arts from the University of Wisconsin–Madison. He has taught media studies and practice at UW–Madison, NYU, and Fordham University, and his publications on the Iranian film industry's stratification in the digital age and inclusive co-creation in media production pedagogy have appeared in the Journal of Cinema and Media Studies. Hamidreza has worked on interdisciplinary new media projects, including co-developing a text-to-image AI generator trained on Safavid-era Iranian miniatures—showcased at the 2024 MUTEK Forum in Montreal—and co-creating the Urban Video Archive, an interactive repository of activist videos from Rio de Janeiro (2013–2023). He has also built the online Global Cinemas Resource with his film students at Fordham University. Hamidreza is currently developing an intermedia practice-research project that reimagines synthetic digital imagery in the age of AI, drawing on the visual cultures and philosophies along the pre-colonial Silk Roads. His short films have screened at festivals and venues such as the Millennium Film Workshop. He has also directed and programmed several film festivals and has led community-engaged workshops on civic media and digital storytelling. He currently serves as a Steering Group Member and Convenor of the Exhibition Working Group at the Radical Film Network.
https://hamidrezanassiri.com

Dr Rebecca Ora (rora) works across video, performance, installation and writing to address taboo, controversial and urgent subject matter--often through dark comedy. Her hybrid theory-practice doctoral dissertation at the University of California, Santa Cruz in Film & Digital Media is titled Barbaric Poetry: Comedy, Obscenity & Art About the Holocaust. At California College of the Arts, her Master’s of Fine Arts thesis film, Watching Lillian, was awarded the Toby Devan Lewis Fellowship. She has exhibited at the Contemporary Jewish Museum (San Francisco, CA); Yerba Buena Center for the Arts (San Francisco, CA); Chashama Art Space (Brooklyn, NY); Steven Wolf Fine Arts (San Francisco, CA); Los Angeles Contemporary Exhibitions/LACE (Los Angeles, CA) and Bergamot Gallery (Los Angeles, CA), among many others. Her writing has appeared in museums publications, journals and books worldwide, including the peer-reviewed anthologies Constructions of the Real: Intersections of Practice and Theory in Documentary-Based Filmmaking (2022), and the forthcoming Laughter in War. Currently living in the UK as an Assistant Professor of Digital Media and Communications at the University of Birmingham, she identifies as a diasporic bicoastal American. https://rebeccaora.net/

Amanda Egbe is a Senior Lecturer in Media Production at the University of the West of England (UWE Bristol). As a filmmaker, artist, and researcher, Amanda has showcased her work at numerous festivals, conferences, and exhibitions both nationally and internationally. She exhibited at the Barbican Gallery in London during the summer of 2023 and participated in the Essay Film Festival in 2022 with her project "Where Were You in 1992?", which explores themes of race, nationalism, and activism in the 1990s.

Amanda's research interests include digital age techniques, the materiality of archives, creative practice, activism, race, and cross-disciplinary collaboration. Her diverse background encompasses co-production, collaboration, and participatory work with activists and community groups, alongside research and heritage institutions. In 2022, she contributed to the BFI Sight and Sound 'Greatest Films of All Time' poll. Her recent publications feature in edited collections by Amsterdam University Press, Taylor & Francis (Routledge), and Bloomsbury Publishing.

Veronika Hanáková is a scholar in new media and digital culture, focusing on the materiality, memory, and preservation of digital images and artifacts, particularly DVD features and interfaces. She is currently involved in the COST Action project Grassroots of Digital Europe (2023–2026), which examines historic and contemporary cultures of computing. She was also guest editor of a special issue of Iluminace (2/2024) titled Configuring Computer Labor in Film and Audiovisual Media, which explored how the position of the computer is reflected, mediated, and imagined within audiovisual media.

She has published articles and video essays in journals such as NECSUS, [in]Transition, Iluminace, and Tecmerin. Her videographic work, including projects such as Screen Stars Dictionary: Natalia Oreiro (co-author Jiří Anger) and Cycles of Labor: In the Metaverse, We Will Be Housewives (co-authors Matěj Tremčinský and Jiří Anger), has received critical acclaim, with multiple Sight & Sound nominations. Most recently, Cycles of Labor was awarded the BAFTSS Award for Videographic Criticism. Together with Jiří Anger, she curates the Audiovisual Essay section at the Marienbad Film Festival and the videographic collection Traces of Media Histories for Artyčok.TV. Hanáková’s work also extends to exhibitions, including contributions to Meme Manifesto at Berlin’s KW Institute for Contemporary Art. She is a member of Artbiom, an artistic collective exploring ecological imaginations.

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