ABSTRACT The Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component of the curriculum. In 2017, the school introduced a new Master of Arts Screen (MAS) program, which included a core Creative Practice curriculum across four semesters of the degree. While creative practice is making a significant contribution to the production of innovation in the academy globally, debate still lingers on its inclusion in national film schools which have traditionally focused on the training of technical and craft skills of the artist. This paper traces the pedagogical move towards a practice-based rather than artefact-based teaching at AFTRS, during the first iteration of the new curriculum. The case study describes the introduction of concrete conceptual models of ‘creative practice as research’ and evaluates the challenges of defining, clarifying, exploring and integrating creative practice theories, methodologies and professional understandings of what it means to be a creative filmmaker.

中文翻译：

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通过创意实践的角度重新审视屏幕制作教育：澳大利亚电影学校的一个例子

摘要澳大利亚电影电视广播学院是一所建立完善的培训机构，在培养成功的校友方面有着骄人的往绩。2016年，一项对澳大利亚媒体格局的行业调查表明，需要更有弹性的创意企业家，他们需要能够谈判该行业迅速的技术和产业变化。因此，建议将研究性创新实践作为课程的基本组成部分。2017年，学校引入了新的艺术硕士屏幕（MAS）计划，其中包括该学位四个学期的核心创意实践课程。尽管创新实践正在为全球学院的创新生产做出重大贡献，关于将其纳入国家电影学校的争论仍在继续，而传统上这些电影学校一直侧重于艺术家的技术和工艺技能的培训。本文追溯了在新课程的第一个迭代过程中，教师在AFTRS上转向基于实践而不是基于伪像的教学方法的过程。案例研究描述了“创造性实践即研究”的具体概念模型的引入，并评估了定义，澄清，探索和整合创造性实践理论，方法论和专业知识对于创作者的意义所面临的挑战。