Dr Ian Macdonald
Senior Lecturer in Screen Studies
0113 343 5816
Clothworkers' Building North, 1.15
PhD (Leeds Metropolitan University), Fellow of the Higher Education Academy (FHEA)
Dr Ian W. Macdonald researches and teaches media practice, with screen narrative and screenwriting as his main research interest.
Dr. Macdonald was Head of the Northern Film School at Leeds Metropolitan University from 1992-2001, and later Reader in Media Practice and Head of Research at Leeds Met’s School of Film, Television and Performing Arts. From 2006 until 2010 he was Research Director (later Director) of the Louis Le Prince Centre for Cinema, Photography and Television.
Initially trained as a librarian, he gravitated towards the media early in his career, working for the BBC, the Independent Broadcasting Authority, the British Film Institute, and for London Weekend Television where he worked on ITV network programmes including Clive James on TV and Tarrant on TV. At LWT he developed The Trouble With Michael Caine (awarded a Gold Medal, New York Film and TV Festival), and edited a subsequent book. He entered Higher Education in 1992, and in 1998 he was co-founder (and later Chairman) of the Association of Media Practice Educators, a UK-wide representative body for institutions in Higher and Further Education, which later merged with the Media Communications and Cultural Studies Association (MeCCSA).
Dr. Macdonald is co-founder of the international Screenwriting Research Network which has held conferences annually since 2008 at Leeds, Aalto (Helsinki), Copenhagen, Brussels and Sydney. The 2013 conference is being hosted in August by the University of Wisconsin-Madison. More details can be found at www.screenwritingresearch.com. Since 2010 Ian has been Co-Editor of the Journal of Screenwriting (Intellect Books), and since 2012 co-editor of the book series Palgrave Studies in Screenwriting. His next book Screenwriting Poetics and the Screen Idea is being published by Palgrave Macmillan on October 1st 2013.
Dr. Macdonald’s research interests include:
- Screen Narrative and Screenwriting
- History and practices of film and television
- Archival and memory issues
My research interests radiate from a focus on the ‘screen idea’ and the conceptualisation of moving image narratives (of all types) as a product and as creative practice. I am therefore interested in screenwriting in particular (which I have taught as both practice and theory for nearly 20 years). This includes the concept(s) behind a film/TV show, the industrial practice of pre-production, the theories which seek to explain the practical and creative processes of production (including film, TV, narrative, creativity and other theories), and the histories of film and TV practice (with its assumptions and conventions). The latter includes an interest in archiving and organising moving image material and documentation.
Dr. Macdonald has taught screenwriting, film production and TV production since 1992, with a special interest in the practices surrounding screen narrative. Until 2003 he taught MA programmes exclusively, and since then his teaching has ranged from Foundation degree to PhD students. For 2013-14 he is responsible for modules on Screen Narratives (COMM 1890, COMM 2655 and COMM 5760) and for the Drama Project module (COMM 3810).
He has taught film and TV practice, film history, professionalism and the workplace, screen narrative fiction, and screenwriting theory and practice, alongside supervising MA dissertations ranging from screen narrative to communications topics. He has been invited to give guest lectures and workshops at, among other institutions, the Hochschule fur Film und Fernsehen Konrad Wolff, Potsdam, Berlin; the Polish State Film School, Lodz; Aalto University, Helsinki; Shih-Hsin University, Taipei; and the University of Copenhagen.
From January 2011 to July 2012 Dr. Macdonald served as Programme Head of the BA (Hons) TV Production at ICS. Prior to this he was Research Director and then Director of the Louis Le Prince Centre, developing work intended for research grant and outreach application, and serving on ICS’ Research Committee. At Leeds Metropolitan University he served on the Faculty of Arts Research Board, which monitors and awards research degrees. He has organised several short international conferences on such topics as archival issues in film (with ICS colleagues Simon Popple and Leo Enticknap), a study day Visions of Empire for the Royal Anthropological Institute (at Leeds Metropolitan University), a conference (with the University of Roehampton) on UK screen heritage issues in 2009, and in 2011 a conference with the BBC on screenwriting for children, Something for the Kids. In 2010 he and Simon Popple organised the successful international conference on the 1984-5 Miners Strike Digging the Seam, based around Simon’s research into memory and archive for the BBC, which has resulted in a jointly-edited book for Cambridge Scholars Press, published in 2012.
(2013) Screenwriting Poetics and the Screen Idea. Palgrave Studies in Screenwriting. Basingstoke: Palgrave Macmillan. (Submitted)
(2012) Digging the Seam. Cambridge Scholars Publishing.
(1991) Candidly Caine. Pan Books.
(2011) “Lost and gone for ever? The search for early British screenplays”, Journal of Screenwriting. 2.2
(2010) “Forming the craft: Play-writing and photoplay-writing in Britain in the 1910s”, EARLY POPUL VIS CULT. 8.1: 75-89.
(2010) “'...So it's not surprising I'm neurotic' The Screenwriter and the Screen Idea Work Group.”, Journal of Screenwriting. 1.1: 45-58.
(2009) “'...So it's not surprising I'm neurotic'”, Journal of Screenwriting. 1.1: 45-58.
(2009) “The Silent Screenwriter: the re-discovered scripts of Eliot Stannard.”, Comparative Critical Studies (British Comparative Literature Association). 6.3: 385-400.
(2008) “Mr Gilfil's Love Story: The 'Well-Made Screenplay' in 1920”, J BRIT CINE TELEV. 5.2: 223-241.
(2007) “Struggle for the Silents: the British screenwriter from 1910 to 1930”, Journal of Media Practice. 8.2: 115-128.
(2006) “Skillset and Mindset: the persistence of division in media education”, Journal of Media Practice. 7.2: 135-142.
(2004) “Manuals are not enough: relating screenwriting practice to theories”, Journal of British Cinema and Television. 1.2: 260-274.
(2004) “Disentangling the screen idea”, Journal of Media Practice. 5.2: 89-100.
(2003) “Finding the Needle. How readers see screen ideas”, Journal of Media Practice. 4.1: 27-40.
(2001) “The assessment of creative screenwriting in Higher Education”, Journal of Media Practice. 2.2: 70-82.
(2012) “Behind the mask of the screenplay: the screen idea”, In: Myer C (eds.) Critical Cinema. London: Wallflower Press.
(2011) “Screenwriting in Britain 1895-1929”, In: Nelmes J (eds.) Analysing the Screenplay. Abingdon, Oxon: Routledge. 44-67
(2010) The Poetics of Screenwriting. Screenwriting: History, Theory and Practice (In preparation)
(2009) Thin air and solid ground: screenwriting as a subject for research. Re-thinking Screenwriting (Submitted)
(2009) O Brother where art thou? The search for early British screenplays. Media Communication and Cultural Studies (MeCCSA) annual conference (In preparation)
(2008) It's not surprising I'm neurotic! The screen idea and the screen idea work group.. Behind the scenes of cultural production: the mediatization of culture
(2008) Mr. Gilfil's Love Story: film adaptation in the 1920s. 11th BFI/Broadway Cinema Silent Cinema Conference
(2007) Style and the Silent Screenwriter: the re-discovered scripts of Eliot Stannard.. Cinematicity
(2006) Playwriting for the Pictures 2. 9th BFI/Broadway Silent Cinema Conference
(2005) Playwriting for the pictures. 8th BFI/Broadway Silent Cinema Conference
(2005) Playwriting for the Cinema. Association of Media Practice Educators/Media Communications and Cultural Studies Joint Conference
(2004) Disentangling the screen idea. Beyond the Theory of Practice (CILECT/University of Newport, Wales)
(2003) Here's another fine theory you've gotten me into.... Blueprint (CILECT)
(2007) The relationship between the screenplay and film music. 3rd Annual Film Music Conference
(2006) Skillset and mindset: the persistence of division in media education. Association of Media Practice Educators/Media Communications and Cultural Studies Joint Conference
Research Projects & Grants
In 2008 Dr. Macdonald was awarded a British Academy grant for his project ‘Early British Screenplays’, an investigation of holdings of surviving British film scripts from the silent era. With Jacob U. Jacob he created a database of over 500 surviving documents held in archives and libraries worldwide, information which is now accessible via the British Film Institute National Library. An article on the project was published in the Journal of Screenwriting 2:2 (2011: 161-177).
Research Centres & Groups
Dr. Macdonald is a member of the Louis le Prince Centre for Film, Photography and Television.
In 2013 Dr. Macdonald was appointed Docent in Screenwriting Research at Aalto University, Helsinki. Since 2001 Dr. Macdonald has served as External Departmental Reviewer at the Hong Kong Academy of Performing Arts; the University of Lincoln; the University of Westminster; and the Arts University College Bournemouth. He has also served as External Examiner for degree programmes at the University of Westminster (MA Screenwriting); the University of Central Lancashire (BA Screenwriting pathway); and the University of Bristol (MA Screen Studies). From 2008-2012 he has served on the Advisory Board of the ‘Aristotle In Change’ project (Aalto University, Helsinki), as reviewer for the Austrian Science Foundation Arts Fund (2009), Chairman of the Leeds International Film Festival short film jury (2006, 2008), and on the Editorial Board of the Journal of Media Practice from 2000-2010. Prior to this he has served on advisory committees for Skillset, the AV Industries Training Group, the Film Policy Review Group, and the Higher Education Funding Council (on higher education funding for media industries).
PhD & Postdoctoral Supervision
Dr. Macdonald currently co-supervises one doctoral candidate, who is studying the interaction between film distributors and regulatory bodies in Yorkshire up to 1930.
The presentation of the Screen Idea in narrative film-making (Leeds Metropolitan University, 2004).
This study adapts Parker’s notion of the screen idea (1998 p.57), which describes a singular concept intended to become a screenwork, to examine the significance of the ways in which the screenwork is formulated, expressed, represented and developed as a concept, in the UK during the period 1990 to 2003. In an attempt to access deeper, rather than complete, understanding, the central metaphor for this study is the crystal, as three ‘facets’ are examined; documents (such as the screenplay) associated with the screen idea, the social practices of screenwriting and reading of the screen idea, and film theory where it appears to have relevance to those practices.
Through cross-textual analysis of documents, manuals and textbooks, and through an original sample survey, the study suggests there is a ‘screenwriting convention’ in operation, representing a basic common set of beliefs about the nature of the field and ‘good practice’. Other a priori views from the canon of film theory, are examined for similarities and differences. A grounded theoretical approach, based around Bourdieu’s theory of habitus (1977, 1984, 1990, 1993, 1996) and ‘theoretical sampling’ through in-depth interviews (Jensen, 2002 p.239), examines interrelationships and the use of power and control within common screenwriting and screen-reading practices. The study also considers notions of authorship in relation to those practices, in particular those of Roland Barthes (1968, 1970, 1974, 1975, 1977).
The contribution of this study is to complement and extend doctoral work on screenwriting (Ballesster Añón 2001; Crittenden, 2001); to an understanding of screen idea documents and their conventional use; to an understanding of screenwriting and screen-reading as part of social practice and subject to a range of pressures and control; to an understanding of appropriate film theory in relation to screen idea construction, and vice versa and in the construction of new empirical evidence about industrial attitudes towards screenwriting and screen-reading.