ABSTRACT Screen production is risky business. Significant sums of money are invested in a process that is subject to myriad precarious variables. Effective completion of a screen project is achieved through the instigation and monitoring of strict parameters which bound its creative process. However, filmmaker David Lynch states that ‘any restriction is a sadness and can kill creativity’ (Stratton 2015. David Lynch in Conversation. https://www.youtube.com/watch?v=jGd6lnYTTY8). The tension between flow and constraint in creative practice negotiates a delicate balance between efficiency and futility. At its most productive, limitations can provide a catalyst for innovation, whereas restrictions that are not sympathetic to the project’s creative intention can cause unproductive conflict and power struggles. Examination of this inherent tension deepens our understanding of the screen production process and offers broader insight into the nature of practice in the creative arts. Anecdotal evidence is drawn from interviews with screen practitioners and the author’s own experience working in various Australian film and television productions between 1994 and 2018. Findings are then examined alongside theories of creative work.

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突破界限：澳大利亚银幕生产的创造力和局限性

摘要屏幕生产是有风险的业务。大量资金被投入到一个过程中，该过程受各种不稳定因素的影响。屏幕项目的有效完成是通过激励和监视约束其创作过程的严格参数来实现的。但是，电影制片人戴维·林奇（David Lynch）指出，“任何限制都是一种悲伤，会扼杀创造力”（Stratton2015。戴维·林奇在《对话》中。https：//www.youtube.com/watch？v = jGd6lnYTTY8）。创新实践中流程与约束之间的紧张关系在效率与无用之间达成了微妙的平衡。限制在其最有生产力的方面可以为创新提供催化剂，而与项目的创造性意图不相干的限制则可能导致非生产性冲突和权力斗争。对这种内在张力的检验加深了我们对屏幕制作过程的理解，并为创造性艺术实践的本质提供了更广泛的见解。轶事证据来自对银幕从业者的采访以及作者在1994年至2018年之间从事澳大利亚各种电影和电视作品制作的经验。然后将研究结果与创意作品理论一起进行考察。