ABSTRACT The relationship between film-makers who create and spectators who judge film is the focal point of this paper. It examines theoretically how these two positions co-exist inside a film-maker that can be supported through critical and conceptual creative practice frameworks. By drawing on filmology, an early film studies area of scholarship, original film theory elements will be re-framed. For example, the filmic terms ‘diegesis’ and ‘spectator’ are central to film theory and pedagogy but ‘creator’, ‘afilmic’, ‘profilmic’, ‘screenic’ and ‘filmographic’ are not frequently used. A re-framing of the filmology suggests another way for the film-maker and spectator to co-exist as a filmic agent who produces creative practices through film-making structures and production contexts. Spectatorship provides one component of the knowledge, skill and practice required for a film-maker to work creatively in a system. Other systemic components that co-exist with spectatorship are the practical, logistical and networking skills required to conceptualize, finance, execute and distribute a film. The Systems View of Creative Practice provides one theoretical explanation where the filmic agent can hold knowledge of both film-making and spectating that enables them to make decisions inside temporal filmic structures.

中文翻译：

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电影制作人中的旁观者：通过创造性的电影制作实践重新构建电影学

摘要 创作的电影人与评判电影的观众之间的关系是本文的重点。它从理论上检验了这两种立场如何在电影制作人内部共存，而这些立场可以通过批判性和概念性的创作实践框架来支持。通过借鉴早期电影研究学术领域的电影学，将重新构建原始电影理论元素。例如，电影术语“diegesis”和“观众”是电影理论和教学法的核心，但“创作者”、“afilmic”、“profilmic”、“screenic”和“filmographic”并不常用。电影学的重新构建为电影制作人和观众提供了另一种方式作为电影代理人共存，他们通过电影制作结构和制作环境进行创作实践。旁观提供了知识的一个组成部分，电影制作人在系统中创造性地工作所需的技能和实践。与观众共存的其他系统组成部分是概念化、融资、执行和发行电影所需的实践、后勤和网络技能。创造性实践的系统观提供了一种理论解释，其中电影代理人可以掌握电影制作和观看的知识，使他们能够在时间电影结构内做出决定。