Kip Jones

KIP JONES, an American by birth, has been studying and working in the UK for more than 20 years.
Under the umbrella term of 'arts-led research', his main efforts have involved developing tools
from the arts and humanities for use by social scientists in research and its impact on a wider
public or a Perfomative Social Science.

Jones was Reader in Performative Social Science and Qualitative Research at
Bournemouth University for 15 years.
He is now a Visiting Scholar and and an independent author and scholar.

Kip has produced films and written many articles for academic journals and authored chapters
for books on topics such as masculinity, ageing and rurality, and older LGBT citizens.
Jones' most recent work involves working with Generation Z youth to tell their stories using
social media.
His ground-breaking use of qualitative methods, including Auto-fiction, biography
and auto-ethnography, and the use of tools from the arts in social science research
and dissemination are well-known.

Jones acted as Author and Executive Producer of
the award-winning short film, RUFUS STONE, funded by Research Councils UK.
The film is now available for free viewing on the Internet
and has been viewed by more than 14,000 people in 150 countries.

Areas of expertise
• Close relationships, culture and ethnicity
• Social psychology, sociology
• Ageing, self and identity
• Interpersonal processes, personality,
individual differences,
social networks, prejudice and stereotyping
• Sexuality and sexual orientation
• Creativity and the use of the
arts in Social Science

Media experience
His work has been reported widely
in the media, including:
BBC Radio 4,BBC TV news,Times
Higher Education, Sunday New
York Times, International
and The Independent.

Saturday, 30 July 2011

Rufus Stone: Reports from location, Part 1

Rufus Stone: Reports from location, Part 1

Video by Trevor Hearing

About this video:
"A location report about the film Rufus Stone, directed by Josh Appignanesi. Rufus Stone is a film about love, sexual awakening and treachery, set in the bucolic countryside of south west England, and viewed through the lens of growing older. It is based on knowledge gathered as part of the research project "Gay and Pleasant Land? - a study about positioning, ageing and gay life in rural South West England and Wales." The project has been funded by the UK Research Councils. The research has been led by the film's Executive Producer, Dr Kip Jones."

Thursday, 28 July 2011

Rufus Stone: nascita/finale

The road from inception of the idea to the making of the film, 'Rufus Stone', has been a long one. This video represents that beginning in scholarship and inspiration and ending in art.

A page from my notebook inscribes the first time I thought of 'Rufus Stone' as the character and the title for the film. Some of the books that I consumed along the journey are included in the shot.

During the shoot of the final scene for the film I remarked how the process of capturing the scene was a small film in itself and began filming on my tiny Canon camera. It reminded me of Fellini, but also of a ballet, the crew and equipment as dancers. Minghella's 'Butterfly' also came to mind and his use of character movement across a static horizonal platform.

'Rufus Stone' the movie goes into post-production shortly. I wanted to capture here, however, the spirit of the making of that film and represent what it meant to me emotionally.

Music: Puccini's "Elegy for String Quartet - Crisantemi"

Follow Rufus Stone the movie on its blog.
 Watch the film here:

Friday, 1 July 2011

"Once upon a time on the set with John Huston"

I have dined out for years on my story of being on the set when John Huston directed the short film, Independence, shot in 1976 by 20th Century Fox for the US National Park Service in Philadelphia. The film starred Ken Howard as Thomas Jefferson, Patrick O’Neil as George Washington, Anne Jackson as Abigail Adams and Eli Wallach as Benjamin Franklin.

At the time, I was doing a course in Museum Studies at Independence National Park and the course leader asked if I would like to represent the Museum on the shoot. I guess I was supposed to make sure that none of the priceless historical antiques were damaged. Of course, I agreed, simply to be present during the filming.

We are currently moving through pre-production and into the shoot of our short film, Rufus Stone and this reminds me of that other film in my distant past. In some ways, Huston’s production staff had it easier, because their locations were all within a few city blocks of each other and the furnishings already correct and in place.

We are finding that shooting in rural Dorset and being true to our research on ageing, sexuality and rurality is not as easy. The myth of rural Britain is that it is comprised of restored thatched cottages, stately homes, and an Aga in every kitchen. Missing in the myth is much of the poverty that exists, the isolation, the downturns in and disappearance of ‘village life’, including scarce resources like post offices and even pubs. No one seems to walk in villages anymore; the car is King.

Many of the locations we are finding are former workers’ cottages joined together into one dwelling, their brickwork or whitewashed plaster scrubbed to within an inch of its life, thatch roofs plopped on top, and then the rear roof incline given that 21st Century country house necessity, several skylights. Because part of our film represents the countryside in the 1950s, these dwellings become particularly problematic for us to film. Still, we are getting there, after several weeks of location scouting. The team has come up with some great places that really have the feel of the story. We strongly believe that the locations will tell the tale as much as any dialogue.
Assembly Room, Independence Hall, Philadelphia PA
First sighting: John Huston
The scene: Independence Hall, Philadelphia
Characters: Members of the Continental Congress; men in white hose and wigs abound

Everything was in place to film the scene, the actors near the front of the Hall near the famous desk. Cast and crew were ready, equipment in place, waiting for John Huston to arrive.

The doors opened and in he came, escorted to a period chair set up just behind the camera with one of the Hall’s antique side tables next to it. On it was a Martini shaker, a glass and an ashtray. Huston took a moment to look through the lens of the camera without saying anything. He then sat, took a cigar out of his jacket pocket and lit it, sipped at his Martini and shouted, ‘Action!”

Needless to say, smoking, let alone drinking, was forbidden in Independence Hall. Somehow, Huston must have received a governmental dispensation. Since he had said ‘Action!’ I figured I couldn’t interfere; too late to exercise my lightweight, supposed powers as representative of the Museum, even if I had been brave enough to object.

After a few days, the interior scenes finished and filming moved to exterior shots outside of Carpenter’s Hall, with horses and carriages to manage through the narrow cobble street. There was much use of fog to give the scene a kind of period authenticity. I love a bit of theatrical haze so was quite excited by this effect.

On the next to the last day of the shoot, there was an unscheduled meeting of all cast and crew called for early morning in Independence Hall. We all gathered as requested. Huston made his entrance. This time he went to the front of the Hall and leaned against the table where the Declaration of Independence was signed.

A hush fell over the room as the bright lights placed in the south-facing windows replicating natural daylight were turned on. Huston began by telling the cast and crew that the production had run out of money to finish the film. He then continued his speech, peppering it by mentioning the founding fathers by name, the historical importance of the film and a bit on his love of show business thrown in for good measure. He appealed to cast and crew ‘as Americans’ to work for another day and a half, no more, for no pay. The assemblage applauded his speech at the finish and agreed to work on and film for free until the project was completed.

I am learning my role as Executive Producer of Rufus Stone on the job. I knew from the beginning that a big part of my role would be making sure that the Research Councils’ money is wisely spent. The second part is insuring that our film represents our three years of research on ageing, sexuality and rurality as truthfully as possible.

Turning research into a professional film is a big gamble on my part. I have been convinced of the possibilities of it for some time; now is the time to face the reality of it. One thing I am learning in the process is that small details matter: they can best represent the research ‘findings’, but also can be the first things that are overlooked or ignored in the creative rush of making a film. For this reason, I need to pay attention to decisions around locations, casting, costumes, interiors and so forth to insure that the details ring true to what we have uncovered in our investigation. It would be easy to ignore them in the heat of filmmaking. My job is to convince the filmmakers that they are not.

Art and Science are strange bedfellows. Or so it would seem. I have always believed, however, that the impulse to investigate and produce scientific discovery is the same compulsion that moves artists to create. For this reason, I am willing to gamble with our research, the Research Councils’ money and our film.

Who best to translate the excitement of discovery to an audience but an artist? How better to take sometimes dry and tedious data and transform it into story and action? Who better to help us to achieve impact on a wider public with our research findings than those who are capable of entertaining (‘instilling interest or consideration in an audience’) through art? This is the premise behind our current filmmaking efforts. A side benefit is that through the process we are picking up some additional skills as academics as well.

When Huston’s filming was done, the crew and cast packed up and gone, the Museum Director and I made an inspection around the Hall. The historical antiques were all in good nick, the room clean and tidy. We then took a stroll outside of the Hall. On the south side of the building where the banks of lights had been stacked on scaffolding two stories high to create a daylight effect streaming through the Georgian windows, we noticed something. The heat of the lights over several days of shooting had burnt off several layers of the official, historically correct, Independence Hall Colonial White No. 3 paint from all of the window frames.

I guess I was too busy getting caught up in the Hollywood of it all to notice this disaster.

Details, Kip. Details.