Time, Memory, and Identity: Autoethnographic Practice in Filmmaking

Hunter, C (2026) Time, Memory, and Identity: Autoethnographic Practice in Filmmaking. Doctoral thesis, Liverpool John Moores University.

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Abstract

This research towards PhD by Published Work critically examines, time, memory and identity via autoethnographic practice in filmmaking, aiming to fill a significant gap in the literature regarding the integration of personal narrative from the perspective of a film director and the associated stylistic innovations in cinema. While current approaches often neglect how subjective storytelling can transform conventional film practices, this research aims to contribute original knowledge to the field of film studies by foregrounding the primary source of the director's voice and methodology. The research investigates and questions the interplay between personal experience, cinematic form, and cultural representation.

Utilising a practice-led methodology, Carl Hunter analyses three of his films More Than Time (2020), Sometimes Always Never (2019), and A Day In The Life: 24 Zero Hours (2017), while engaging with Henri Bergson's theories of time and the nature of consciousness. This critical reflection incorporates practice-led research methodologies, narrative techniques, stylistic innovation, and processes, including the use of visual scrapbooks as an immersive experience and communication device. The findings of this practice-led research demonstrate that the director’s employment of long takes and understated performances promotes a richer engagement with temporal perception. This aligns with the insights of film theorists such as Laura Mulvey and Andrew Nestigen, who emphasise the importance of unique visual and narrative grammar in film.

The thesis also explores the importance of cinema as a medium through which British narratives are articulated and disseminated, influencing both domestic and international perceptions of British culture. In this thesis, the term Britishness on screen encompasses prevalent, clichéd portrayals of the working class often characterised by anti-working-class propaganda.

The film Sometimes Always Never (2019) endeavours to subvert these entrenched cinematic tropes by employing a distinctive juxtaposition of form and content. This thesis finds that autoethnographic practice in filmmaking not only challenges dominant narratives but also enhances understanding of identity and memory, providing a rare glimpse into the research processes and theoretical frameworks that inform the directorial approach. By revealing these methodologies, the thesis suggests valuable implications for future research in film studies, advocating for the importance of personal narrative in understanding the complexities of cinematic representation.

Key words: Carl Hunter, Filmmaking, Autoethnography, Autoethnographic practice, Time, Identity, Personal Narrative, Cultural Representation, Memory, Film Theory.

Item Type:	Thesis (Doctoral)
Uncontrolled Keywords:	Carl Hunter, Filmmaking, Autoethnography, Autoethnographic practice, Time, Identity, Personal Narrative, Cultural Representation, Memory, Film Theory.
Subjects:	H Social Sciences > HT Communities. Classes. Races N Fine Arts > N Visual arts (General) For photography, see TR T Technology > TR Photography
Divisions:	Art and Creative Industries
Date of acceptance:	4 June 2026
Date of first compliant Open Access:	8 July 2026
Date Deposited:	08 Jul 2026 10:08
Last Modified:	08 Jul 2026 10:09
DOI or ID number:	10.24377/LJMU.t.00028902
Supervisors:	Fallows, C and Appleton, P
URI:	https://researchonline.ljmu.ac.uk/id/eprint/28902

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