• DOCUMENTARIES
    • Opera Mums (2021)
    • QUEERAMA (2017)
    • AFTER THE DANCE (2015)
    • VELORAMA (2014)
    • Crazy About 1D (2013)
    • THE QUEEN OF NORTH SHIELDS (2013)
    • MY GAY DADS (2010)
    • MY NEW HOME (2005-2011)
    • Nana's Cruise (2009)
    • CLOWNS (2007)
    • HOUSE CLEARERS (2005)
    • MARRYING A STRANGER (2002)
    • 15: THIS IS ME (2000)
  • TEACHING
    • MA Screen Documentary
    • SCHOLARSHIPS
    • Filmmaker Interviews
    • Screening Library
    • Showreel of MA work
    • Gold Docs 2015-19
  • RESEARCH
    • QUEERAMA
    • THIS IS NOT US
    • FILMING THE SHADOWS
    • BETWEEN ME AND YOU
    • Vegas & Lola
    • Josephine
    • Marshal
    • Kimberley
    • TOMMY
    • Johnny & Mary
    • ZIGI
  • OTHER PROJECTS
    • MEMENTO 2020
    • RAD GIRLS CAN 2018
    • SCIENCE ON BUSES (2017)
    • KEEP IT REAL 2010
  • LINKS
    • SHEFFIELD DOCFEST Q&A
    • BFI Q&A
    • SHEFFIELD DOCFEST 2015
    • BERTHA DOCHOUSE Q&A
    • BAFTA GURU INTERVIEW
    • TALENT MANAGER (CV)
    • TWITTER
    • GOLDSMITHS PAGE
    • DOCSVILLE PAGE
    • Staggering in the Dark
  • CV/BIO

DAISY ASQUITH

Documentary Theory & Practice

  • DOCUMENTARIES
    • Opera Mums (2021)
    • QUEERAMA (2017)
    • AFTER THE DANCE (2015)
    • VELORAMA (2014)
    • Crazy About 1D (2013)
    • THE QUEEN OF NORTH SHIELDS (2013)
    • MY GAY DADS (2010)
    • MY NEW HOME (2005-2011)
    • Nana's Cruise (2009)
    • CLOWNS (2007)
    • HOUSE CLEARERS (2005)
    • MARRYING A STRANGER (2002)
    • 15: THIS IS ME (2000)
  • TEACHING
    • MA Screen Documentary
    • SCHOLARSHIPS
    • Filmmaker Interviews
    • Screening Library
    • Showreel of MA work
    • Gold Docs 2015-19
  • RESEARCH
    • QUEERAMA
    • THIS IS NOT US
    • FILMING THE SHADOWS
    • BETWEEN ME AND YOU
    • Vegas & Lola
    • Josephine
    • Marshal
    • Kimberley
    • TOMMY
    • Johnny & Mary
    • ZIGI
  • OTHER PROJECTS
    • MEMENTO 2020
    • RAD GIRLS CAN 2018
    • SCIENCE ON BUSES (2017)
    • KEEP IT REAL 2010
  • LINKS
    • SHEFFIELD DOCFEST Q&A
    • BFI Q&A
    • SHEFFIELD DOCFEST 2015
    • BERTHA DOCHOUSE Q&A
    • BAFTA GURU INTERVIEW
    • TALENT MANAGER (CV)
    • TWITTER
    • GOLDSMITHS PAGE
    • DOCSVILLE PAGE
    • Staggering in the Dark
  • CV/BIO

THIS IS NOT US

This is Not Us is a practice research project on performance, relationships and shame in documentary filmmaking. The work comprises a 40,000 word written element and a documentary installation which was exhibited in April 2018 at the Attenborough Centre for the Creative Arts at Sussex university. The written part of this research can be downloaded here as a PDF and was published as a chapter in Seeing Fans Bloomsbury 2016 here.

This research has been supported by the University of Sussex and funded by the Arts and Humanities Research Council.

SUMMARY

This thesis investigates performance, identity, representation and shame in documentary filmmaking. Identities that are performed and mediated through a relationship between filmmaker and participant are examined with detailed reference to two decades of my own practice. A reflexive, feminist approach engages my own films - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of filmed participants using social media to contest their image on screen. In the space between documentary confession and the reception of a story by the audience, a dangerous moment comes, in which shame can be received, perceived, projected, internalised or imagined. The point of this research is to offer to existing documentary theory a practitioner’s understanding of the processes which produce shame and to establish for documentary filmmakers some practical ways to resist and prepare against the rupture in identity that representation can cause those they film. Engaging both theory and practice in pursuit of the same research questions, I make a self-reflexive investigation into the ethics, affect and impact of representing others, employing the mediums and methods of fans to answer their complaints.