Videographic criticism as research and exhibition artefact

This article builds upon Susan Kerrigan’s model for a scale and magnitude approach to creativity (Kerrigan, Susan. 2019b. “Filmmaking as Creative Practice: Assessing Creative Magnitude and Scale.” Global Media Journal: Australian Edition 13 (1): 1–11. https://www.hca.westernsydney.edu.au/gmjau/?p=2941),by considering the addition of academic exhibition as a means to increase magnitude. Building from Kauffman and Beghetto’s model of creativity (Kaufman, James C., and Ronald A. Beghetto. 2009. “Beyond Big and Little: The Four C Model of Creativity.” Review of General Psychology 13 (1): 1–12. doi:10.1037/a0013688) this article introduces transitional limits to facilitate for creative practitioners working within the little-c and Pro-c criteria but are not yet eminent. In doing so, it problematises the idea of what constitutes professional and raises the question of how might a student or professional researcher escape the definition of little-c by increasing their magnitude? To consider this question, this article uses three primary case studies to explore how postgraduate researchers and professional academics are working at the Pro-c level, by situating them within the Four C model. Finally, considering how we can use videographic criticism as an ancillary product of research practice that can increase student and professional scholar’s creative magnitude, under the principle of forward incrementation (2009, 5).