Censored, marginalized and largely inaccessible, independent cinema in the People's Republic of China is widely recognised as an important achievement of recent Chinese cinema. It functions as a dynamic force to challenge the concepts of art, truth, reality and ethics constructed in official discourses and to explore alternative spaces, places, voices, and images that have been ignored or distorted in mainstream media. However, following a nationwide shut-down of independent film festivals and organizations in the PRC since 2012, there is a real danger that these works and the material culture surrounding them may disappear. This project aims to preserve independent films made in the PRC in the past three decades and to conduct comprehensive research into this unique but under-researched film culture. This four-year international project is led by film scholars from UK and China (Sabrina Qiong Yu, Newcastle University; Chris Berry, King's College London; Luke Robinson, Sussex University; Xianmin Zhang, Beijing Film Academy), all active researchers and steadfast advocates of Chinese independent cinema who have excellent personal and professional connections with Chinese independent film circles, and supported by a Research Assistant. We will work closely with a large number of independent filmmakers and curators as well as a range of industry partners, supported by a multi-national Advisory Board comprised of 10 prominent filmmakers, curators and academics of Chinese independent cinema around the world. We want to understand how Chinese independent cinema has been produced, circulated and received, as well as how its relationship to the state and the market has shaped this cinema. To that end, we will conduct a questionnaire-based survey of 200 independent filmmakers and semi-structured interviews with 25 selected representative directors. We will also survey audiences for independent films and interview other stakeholders such as the curators of film festivals and the CEOs of film companies/funds which are committed to the production and distribution of independent films. We will communicate the findings to academic audiences via a monograph, an academic conference and a subsequent anthology, academic journal articles and conference panels/papers. We will launch the first Chinese independent film archive in Europe in which a rare collection of Chinese independent films and a disappearing film production and exhibition culture are preserved. It will not only safeguard cultural heritage for future generations, but also keep an 'alternative', faithful record of social changes and historical trauma in socialist and post-socialist China that is unobtainable elsewhere. We will advocate the use of independent films, documentaries in particular, as first-hand sources for research on and teaching of modern China within higher education. The first Chinese independent film online database, a YouTube channel and other digital platforms will be set up to enhance awareness of Chinese independent films and stimulate interest in the archive. The project will also benefit non-academic communities such as filmmakers, film industries and the general public. To enable this, we will collaborate with leading industry partners Sheffield Doc/Fest and CNEX in China to hold a Sheffield Doc/Fest-CNEX Documentary Summit in Beijing and panel discussions on UK-China co-production at Sheffield Doc/Fest in the UK. We will curate a UK film tour together with local art-house cinemas in four different UK cities as well as China Visual Festival (London), Chinese Film Forum (Manchester), and the Institute for Screen Industries Research at Nottingham University. To mark the launch of the film archive, there will be a film week at Newcastle's Tyneside Cinema, a symposium at Newcastle University, and a multi-media exhibition on the history of Chinese independent cinema over three decades at the Baltic Centre for Contemporary Art in Gateshead.

Patterns in Practice will explore how practitioners' beliefs, values and feelings interact to shape how they engage with and in data mining and machine learning - forms of 'narrow AI'. Data and algorithms are becoming increasingly important resources for decision makers in organisations across sectors. Data mining and machine learning techniques allow analysts to find hidden patterns in the vast troves of data that organisations hold, producing predictive insights that can be actioned by others within the organisation or further afield. As applications of such techniques have become more common place, they have also become more controversial. The recent case of Cambridge Analytica mining Facebook data for political campaigning purposes is a recent example. Across sectors practitioners are asking what good data practices look like and how they can be fostered, and the UK government has recently launched the Centre for Data Ethics and Innovation to examine such issues. While many data scientists are excited by these techniques and their potential to overcome perceived limitations of human judgement, for other groups of practitioners they can be perceived as an intrusive threat to privacy, an unwelcome challenge to professional insight, or dismissed as overhyped methods that produce poor quality information. Beliefs, values and feelings such as these, influenced by the cultures that practitioners are embedded within, are crucial factors that shape how the adoption and application of this type of AI unfolds in different contexts of practice. They also shape how different groups of practitioners come to relate to one another and the subjects of their data. Ultimately, practitioners' beliefs, values and feelings shape how they come to understand what is desirable and ethical with regard to the application of such techniques in different contexts. In Patterns in Practice, we will use a combination of interviews, focus groups and observations to explore how the beliefs, values and feelings of different groups of practitioners shape how they engage with data mining and machine learning, and influence the evolution of cultures of data practice. We will examine the beliefs, values and feelings both of those developing and implementing applications that use data mining and machine learning techniques, and those being asked to use the outputs of such applications to inform their decision making. Since factors such as the novelty of application, individual and social implications, and the involvement of commercial interests can impact on people's beliefs and feelings about the application of such technologies, we have decided to explore practitioners' perceptions within three contrasting sectors in science, education and the arts: (1) mining chemical data to inform drug discovery in the pharmaceutical industry, (2) predictive learning analytics in UK universities, and (3) novel applications of data mining in the arts. Through exploring a diverse range of practitioners' perspectives, we aim to build a rich picture about what they believe and how they feel about the application of data mining in different contexts. Building upon this empirical foundation, we aim to engage different groups of practitioners across the sectors to enhance their understanding of the ways in which their own and others' beliefs, values and feelings can impact upon how they engage with data mining and machine learning applications and how this shapes how such applications become embedded, or not, into different organisational contexts. Drawing on this deeper understanding, we aim to empower practitioners in the sectors we work with and relevant stakeholders (i.e. members of the public, policy makers) to foster the development of critical and reflective "data cultures" (Bates, 2017) that are able to exploit the possibilities of data mining and machine learning, while being critically responsive to their societal implications and epistemological limitations.

This application is to support impact and engagement activities resulting from Dr Steve Presence's AHRC ECR grant, 'UK Feature Docs: Studying the Feature Documentary Film Industry' (2018-2020, from here 'UKFD'). The application proposes the creation of a new national organisation for UK documentary - the Documentary Film Council (DFC) - that has been co-conceived by the research team in collaboration with the leading organisations in the industry. The DFC will consist of a range of working groups that address the different needs and represent the different sub-sectors in the documentary industry. The specific aim of this project is to target Follow-on Funding at key elements of this proposed organisational infrastructure: the core work required to establish the DFC, and the specific activities of its Diversity, Equity and Inclusion (DEI) and Mental Health working groups. This strategic use of funds will directly support the foundations of the DFC and address two of the most pressing industry-wide issues - diversity and mental health - while also animating the DFC's broader organisational infrastructure and stimulating activity across all the DFC's proposed working groups. The UKFD project was primarily a work of cultural history that explored the evolution of documentary as a cinematic form over the past two decades. However, the project also included a more future-facing research strand that aimed to investigate the challenges faced by those working in the sector today. This strand of the project expanded well beyond its original scope following high levels of stakeholder engagement and the formation of close relationships with leading industry bodies. As the research developed, it emerged that policymakers in the film and television industries alike had, for various reasons, largely overlooked the unique needs of the nonfiction sector. As a result, UK documentary was suffering from a range of problems that stemmed from a long-standing lack of tailored support. This work thus exposed an urgent and unforeseen need for widespread policy intervention across the documentary industry. Responding to this need, the UKFD research team scaled-up their originally modest plans to explore challenges in the sector. In partnership with Doc Society - the lead body for documentary in England - and with additional 0.4 RA support, funded by UWE in recognition of this expanded remit, in April 2019 the UKFD team launched what became the largest survey ever conducted of UK documentary producers and directors. The results were published by the UKFD team in June, which in turn became the basis for an extensive sector-wide consultation in summer and autumn 2020, the results of which were published in a second major UKFD report in January 2021. This Follow-On Funding bid is the product of this unanticipated and unforeseeable research trajectory. The proposed project builds on the original UKFD research and takes it in a significant, innovative and exciting new direction. The proposed structure and reach of the DFC is without precedent in the UK screen sector. It will generate a range of creative, innovative and evidence-based interventions across the documentary industry, and will attract national and international attention, engaging a genuinely diverse range of new audiences and user communities. As evidenced by the UKFD project research, many of the issues and challenges facing the documentary industry can only be addressed via sustained and collective commitment to the problems at hand. A secure and sustainable cross-sector infrastructure is a precondition to building and maintaining such commitment. With support from the AHRC at this crucial stage, this project will provide that infrastructure to the UK documentary sector, delivering significant cultural, economic and social benefits to the sector and its audiences and ensuring the impact of AHRC-funded research is felt across the UK screen sector and beyond for years to come.

This project aims to increase knowledge and understanding of the contemporary feature-length documentary film industry in the UK. It has three core objectives: 1) to map the industry and analyse its operation; 2) to historicise the industry's formation and the factors that have shaped its development; and 3) to investigate the criticisms and challenges the industry faces and explore how these might be addressed. Documentary has formed a major part of British film culture ever since John Grierson, the figurehead of the British Documentary Movement (1926-46), coined the term in 1926. However, with so much British scholarship focusing on that period and its achievements, subsequent developments have been marginalised. One of those developments has been the emergence of a feature documentary industry comprised of organisations dedicated to the production of feature-length (70 minutes or more) films for broadcast or theatrical exhibition that is distinct from - albeit often related to - factual or specialist factual television production). Since the beginning of the 21st century, feature-length documentaries have experienced a major upsurge in popularity and become a significant global box-office attraction. Although this is most obviously evidenced by US films such as Farenheit 9/11 (2004) or An Inconvenient Truth (2006), a range of UK feature documentaries have enjoyed significant (critical if not necessarily commercial) success, including Black Gold (2005), The End of the Line (2008), Selfmade (2010), Up in Smoke (2011), the Oscar-nominated The Act of Killing (2012), and the Oscar-winning Citizen Four (2014). As a result, the UK feature documentary industry is now an established part of the broader film and television industries, with distinct subsectors dedicated to finance, production, distribution and exhibition. Yet despite its established presence, and the fact that UK documentary is widely acknowledged to be experiencing a 'golden age' (Sight & Sound, September 2014, p. 52), little scholarly attention has been paid to the industrial structures underpinning it. There is thus a timely and urgent need to study the UK documentary industry if its current economic and cultural success is to be understood, supported and sustained. This project has been developed in association with three institutional partners - the British Film Institute (BFI), Creative England and The Grierson - as well as five partners from each of the industry's main subsectors (finance, production, distribution and exhibition): The BRITDOC Foundation is the leading broker of documentary film finance and distribution in the UK; Dartmouth Films is one of the UK's most influential documentary production companies; Dogwoof is the UK's leading documentary distributor; Sheffield Doc/Fest is the preeminent documentary film festival in the UK; and Yaddo, the UK's first documentary webcaster, was launched in 2016 by the former head of BBC Storyville, the UK's leading broadcast platform. All partners will participate in the research via a series of semi-structured interviews, while the partners from the industry's subsectors will also take part in a period of Participant Observation. Combined with desk-based analyses of primary and secondary materials (academic literature, trade press, close analysis of the films themselves), this comprehensive methodology will best enable the three core objectives to be addressed. The project will have a number of tangible applications and benefits to the industry in addition to the range of academic outputs it will generate. The policy proposals will provide the BFI and Creative England with evidence-based, practically-applicable recommendations. Together with the Doc/Fest workshops and project website, these will facilitate knowledge exchange between academia and industry that will expand understanding and work towards a more sustainable, innovative and culturally and economically successful documentary industry.