My PhD project explores how the artist’s and viewer’s relationship to image, time, and narrative shifts across three major modes of lens-based representation: still photography, narrative cinema, and immersive film. The central research question asks: How does the evolution of photographic media—from the fixed frame to the moving sequence to the immersive environment—transform the construction of meaning and the roles of artist and spectator?
The artistic research comprises three interconnected components: First, a curated series of analogue landscape photographs, captured using one of the earliest medium-format film cameras. Second, the development of a feature-length screenplay adapted from a novel. Third, the conceptual and practical development of an immersive, virtual reality narrative film designed for 360° or 180° stereoscopic production.
Through practice and critical reflection, the research investigates how storytelling transforms across media, and what new narrative possibilities may emerge as we move from looking at images, to moving with them, to inhabiting them.
Duane Hopkins: Began practice in UK. Two short form pieces FIELD & LOVE ME OR LEAVE ALONE, played over 200 film festivals, won 35 awards and were exhibited worldwide. First feature film BETTER THINGS selected for the Cannes Film festival and nominated for the Camera d’Or. The film won the FIPRESCI award at the Stockholm International Film festival and received the SIGNIS award from the World Catholic Association for Communication. Staged first Solo exhibition at the Baltic Centre for Contemporary Art UK entitled SUNDAY, a group of multi-screen film insDuane Hopkins: tallations which went on to exhibit worldwide in Museums of Modern / Contemporary Art. Premiered second feature film BYPASS in Orrizzonti Competition at Venice Film Festival. Selected artist to represent UK for the FIFA World Cup resulting in short form piece TWELFTH MAN which has over 1 million online views.
Artistic Research Autumn Forum 2025
3rd presentation
This final presentation will focus on how the project has developed and changed during the fellowship period - from an investigation into the storytelling potential of immersive film to a broader enquiry into the continuum of lens-based media itself. What began as an attempt to understand how VR could generate physical and emotional presence has gradually expanded into a study of how still photography, cinema, and immersive film each construct experience, authorship, and atmosphere through their use - or absence - of the frame.
This presentation brings together three strands of my artistic research: The comprehensive development of The Pub, a live-action immersive VR drama; a feature-film adaptation developed through screenplay; and a curated series of analogue photographs made in the Midlands, where my practice began.
The film project ‘The Pub’ (which is being used as the vehicle for my Research Question) has been almost fully developed and partially financed. The aim was enter production later this year. I will present the development of the project via the Pitch Deck that was used for financing and also for myself as a document that shows the current state of the Artistic Research.
However, as I now enter the technical tests phase prior to preparing the shoot I have encountered a problem. Mainly that the VR 360 cameras currently available are not up to the resolution standards required for me to realise the film to the standards I believe are essential.
Alongside presenting the creative development of the project / research I will also explain my thoughts re this camera problem as it relates to the below suggestion from yourselves: something that at the moment is perceived as a particular challenge or a weakness within the project. You should also use this opportunity to promote critical dialogue within the audience and to discuss ethical concerns.