Kip Jones

KIP JONES, an American by birth, has been studying and working in the UK for more than 19 years.
Under the umbrella term of 'arts-based 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 is Reader in Performative Social Science and Director of the Centre for Qualitative Research
at Bournemouth University. 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. His ground-breaking use of qualitative methods, including
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 13,000 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
Herald-Tribune
and The Independent.

Thursday, 6 April 2017

"Copacetica" Scene 1. EXT SUBURBAN HOUSE POOL NIGHT

Scene 1. EXT. - SUBURBAN HOUSE POOL - NIGHT

Establishing shot with late 1950’s contemporary ranch house with a swimming pool behind it, set in a countryside-turning-suburban America.


It is a pitch-black night; flashes of lightening in the distant sky.
 

We see the scene in monochrome except for a green swimming pool, lit by underwater lighting, glowing in the darkness.
 

The kidney shaped pool looks like a huge green footprint on the night landscape.

We hear sappy romantic 1950’s pop music coming from a large pool side speaker. (”Chances Are” by Johnny Mathis is suggested.) Music throughout the story emanates from stereos, radios, a DJ's turntable or a jukebox. All songs are indicative of characters and are integral to the plot and the specific time period of the story and suggested tracks shouldn't be considered as background or 'film music'. They are part of the story.


We first meet KYLE James, 16, short dark hair, preppy, bright eyes and swimmer’s build as
 

KYLE emerges from beneath the pool’s surface in a cascade of rushing water.

KYLE somersaults over on his hands and begins to do ‘pirouettes’ upside down in the pool, imitating what he has seen in Esther Williams’ films. As the music builds and Kyle’s movements become more agitated but still balletic.


CUT TO: KYLE’S MOTHER, 1950’S UPPER MIDDLE-CLASS HOUSEWIFE (“BETTY DRAPER” TYPE)IS SEEN THROUGH EXTERIOR WINDOW OF THE HOUSE. SHE IS PEERING AT KYLE THROUGH THE KITCHEN WINDOW. 


We can see inside the kitchen’s interior, a range of muted 1950s colors, behind her.


His MOTHER looks worried. She lights a cigarette. (Is her son going to turn out ‘like that?’ Kyle’s interests lately have started to concern her, but she keeps her concerns from his father.)


MOTHER stops worrying about that right now, and instead continues to worry about Kyle being in the water with the coming electrical storm. She is a worrier. 


MOTHER looks up at the lightning through the window then covers her face with her hands in fright.
She is afraid for Kyle, on so many levels. 


(This is a story about fear and the regrets that fear produces.)


CUT TO EXT. POOL 


KYLE is now floating silently on his back, arms stretch outward, palms upward, not moving, but watching the sky erupt. Agitated birds flapping to a chorus of crickets in the background. The sky is black. Suddenly thunder, then a lightning bolt hits the ground in the distance behind the pool. It immediately begins to pour sheets of rain. 


KYLE climbs the ladder, exiting the pool like a Bruce Webber photoshoot slowly. 


We examine his body gradually, voyeuristically, from his head to his feet, as he ascends the pool ladder rung by rung. His physical beauty and his youth are breath-taking. He turns away from our view upon reaching the top of the ladder. The heavy rain then blocks our view. The pool in the background looks like a drop of green ink on wet paper. 


We are mesmerized by the scene and by Kyle’s beauty. Our attention is held for a minute or so.
 

Fade to black.


"Copacetica" is the working title of a script currently in early stages of development for a feature-length film. Set in the 1960s, Copacetica's themes include being different, the celebration of being an outsider, seeing oneself from outside of the “norm”, and the interior conflicts of “coming out” within a continuum as a (gay) male in a straight world. These observations are set within the flux and instability of a period of great social change. Through the device of the fleeting moment, the story interrogates the certainties and uncertainties of the “norms” of modernity.

Copyright 2016 Kip Jones

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