My research develops affective filmmaking as a method of inquiry that supports young people to explore everyday understandings and experiences of gender in secondary school*. Affective filmmaking is designed to give expression to young people’s felt experience and tacit knowledge in an emergent process of thinking through making.
In reading and thinking about theory and practice I’ve been struck by the synergies between feminist new materialism, creative arts research and my experience of filmmaking practice.
Feminist new materialism, informed by the work of philosophers Gilles Deleuze, Felix Guattari, Karen Barad, Rosi Braidotti and Donna Haraway, challenges the centrality of the human experience as a guiding premise in social and educational research and rejects notions of knowledge as binary, static and essentialist (Taylor, 2016, p. 5-24)). Barad’s theory of agential realism demands an engaged material practice in which ethics, being and knowing are inseparable, and matter, affect and discourse are relationally intertwined and co-constituted (Barad, 2007, p. 137-41).
Barad’s conception of meaning as dynamic and created through the intra-action of matter through space and time resonates with my experience of documentary filmmaking as a thinking/making process in which meanings are multiple and slippery, emerging affectively through space and time.
My thinking about filmmaking as an affective, emergent mode of inquiry to explore experiences of gender in secondary school with young people through doctoral research.