Dr Lee-Jane Bennion-Nixon

Professional biography

• Fiction filmmaking
• Production practices and work flows
• Radical narratives in filmmaking
• Female representation on and off the screen
• The director's role as creative collaborator rather than auteur
• Filmmaking pedagogy
• Creative practice as critical thinking

My research has evolved from a PhD that was primarily research-led with practical elements, to a focus on practice-led research, with creative artefacts at the centre of the work. This shift places fiction filmmaking at the centre of my critical thinking, a focus that was not widely explored in filmmaking research when I pursued my PhD. A central argument in my thesis is that creative collaborations in filmmaking are often viewed as a kind of alchemy—a mix of innate talent, craft, and serendipitous moments. This perception is unhelpful, as it perpetuates the ‘cult of the director,’ keeps creative ‘workers’ in their place, and overshadows the collaborative efforts of those diligently working to complete a film.

Filmmaking involves complex creative and technical decisions that cannot be fully assessed by what appears on screen. This highlights the need for a deeper exploration of the dynamics of creative decision-making process during production, particularly in fiction. By critically examining these complexities, we can better appreciate the collaborative nature of production, the resource-intensive demands of filmmaking, and raise the critical question: who is afforded the opportunity to take on these leading creative roles? This perspective not only guides future filmmaking but also enriches my pedagogical research.

I have taught all levels of production and led final year productions for undergraduate and postgraduate. I taught specific modules on directing, story development and scriptwriting, producing, editing and more theoretical aspects of film and media studies. My core approach to teaching film practice, which I have developed over the years, is to blend thinking and doing around the theme of ‘building your practice’. I have also supervised PhD students across various universities, particularly those whose research focuses on filmmaking.

• ​Practice-led research methods for filmmakers
• Practical of fiction and non-fiction filmmaking for U/G and P/G
• Industry production practices and career development
• Directing and producing for film and television
• Documentary Theory
• Independent filmmaking
• Screen Language and analysis
• The Problematic nature of Film Authorship
• Activist and radical filmmaking
• Female representation in front of and behind the camera
• Radical women's filmmaking workshops

Impact and Engagement in Filmmaking and Pedagogy

Throughout my career, I have continually sought to create a lasting impact by sharing my work and insights across multiple platforms. As both an academic and a filmmaker, I engage with global audiences through screenings, papers, and keynote presentations, constantly striving to push the boundaries of both fiction filmmaking and filmmaking pedagogy.

I have been asked to present in an upcoming seminar series, which I will kick off called the Rebellious Research: Creative Practice Research Seminar Series. In this talk, Exploring the Intellectual Dimensions of Fiction Filmmaking: Why Fiction Filmmaking Matters, I aim to challenge traditional perspectives on the role of fiction in practice-based research and inspire emerging filmmakers to think critically about their work.

In addition, my upcoming co-edited book Fiction Filmmaking as Research (Routledge, 2024) with Dr. Agata Lulkowska will further bridge the gap between filmmaking and research. The book, which includes my chapter on the creative decision-making process of About the Night, highlights how creative practice and scholarly inquiry intersect. This contribution reflects my ongoing commitment to shaping the intellectual discourse around fiction filmmaking.

Recent Conference Contributions

In 2024, I contributed to multiple international conferences and screenings that reflect my commitment to collaborative filmmaking, pedagogical innovation, and storytelling. Presenting both papers and my film About the Night, I’ve used these platforms to explore the creative risks and collaborative processes inherent in fiction production:

• Embracing Chance and Risk: A Filmmaker's Exploration of Collaborative Storytelling in Fiction Production(MeCCSA Manchester, Sept 2024)
• Exploring the Intellectual Dimensions of Fiction Filmmaking (International Experimental Fiction Filmmaking Festival, University of Salford, July 2024)
• Navigating Friction: A Filmmaker's Exploration of Collaborative Storytelling (Media Frictions, Jonkoping University, May 2024)

These engagements reflect how my work fosters critical conversations around storytelling, authorship, and the challenges of collaboration in film production. My approach embraces unpredictability and risk, drawing attention to the dynamic, often complex nature of creative partnerships

Workshops and Symposiums: Building Communities and Activating Change

In addition to conference presentations, I co-lead workshops designed to create active change in creative higher education. Workshops like Towards an Anarchist Filmmaking Pedagogy: Fostering Future Film Activism and Hope and Fear in Creative Higher Education (both in 2022) aim to foster new ways of thinking about how film can be used to challenge norms and inspire activism.

A key example of my commitment to blending theory with practical impact is my role as co-chair and organiser of the Trailblazing Women On and Off Screen: Equal Access in the Film and Television Industries symposium (University of Greenwich). This event brought together academics, practitioners, and industry professionals to tackle the persistent lack of representation and equal access for women in the film and TV industries. By blending film theory with real-world practice, the symposium encouraged cross-disciplinary dialogue and sparked ongoing discussions about gender equality in creative industries.

Collaboration has been a driving force throughout my career as both a filmmaker and educator, enabling me to foster strong partnerships that have shaped my work and influenced the field of film and television production education. For the past decade, I have served as the Education Officer for the Women’s Film and Television History Network, where I collaborate with fellow academics on the working committee, focusing on educational development. In this role, I’ve helped organise high-profile events, including Breaking the Sound Barrier at the BFI Southbank, which brought together industry professionals and academics to celebrate the contributions of women to the sound industry.

My external collaborations extend to industry partners as well. As an educational consultant with Imaginarium Studios in Ealing, London, I was responsible for developing and implementing the UK’s first Performance Capture Certificate, a partnership with the National Film and Television School. This role grew to working with other partners, including Creative England, to deliver professional training in one of the key areas of Virtual Production. I continue to actively collaborate with VFX production companies and Virtual Production providers to stay at the forefront of next-generation filmmaking, ensuring my knowledge and expertise evolve with the latest industry advancements.

In addition to my industry roles, I have been a consultant for curriculum development at several institutions. Most recently, I worked with the University of Roehampton, where I played a key role in preparing their Film Production degree for validation. I also contributed as an External Validation Panel Member for Ravensbourne University London, ensuring that their BA programmes in Editing and Post-Production and Digital Film Production met rigorous academic and professional standards.

My commitment to ensuring academic excellence extends to my work as an External Examiner. Currently, I collaborate with the University of Birmingham, where I oversee both their undergraduate offerings in the Department of Film and Creative Writing and their MA Film and Television: Research and Production. I also contribute as External Examiner for the University of York’s MA in Film and Television Production, focusing on Directing, Producing, and Cinematography. In these roles, I review programme documentation to ensure compliance with the QAA UK Quality Code, Subject Benchmarks, and the framework for higher education qualifications (FHEQ), while ensuring that students receive a high-quality learning experience. Previously, I held the position of Undergraduate External Examiner in Film, Television, and Media Studies at the University of East Anglia from 2013 to 2017. My responsibilities included overseeing production work, theoretical assignments, and dissertations, ensuring that assessment standards were met and that students’ work was marked with professional rigour.

Through these varied collaborations, both within academia and the industry, I have been able to contribute to the growth and development of filmmaking education while ensuring that my own work remains connected to the evolving needs of the industry. By working alongside institutions and industry leaders, I continue to bridge the gap between theory and practice, preparing the next generation of filmmakers for the challenges and opportunities of the digital age.

I remain closely connected to my New Zealand filmmaking community from my time as President of the Wellington chapter of Women in Film and Television (WIFT). New Zealand cinema holds a special place in my heart, celebrated for its striking natural landscapes, distinctive and thought-provoking storytelling that delves into themes of identity, isolation, and cultural tensions, and its global influence through filmmakers like Jane Campion.