Please complete the questionnaire below. Your information will be included in the PhD research, and information will be stored securely at Macquarie University and managed according to the Data Management Plan for the project 

This is essentially a multi-method, multi-stakeholder, practice-based qualitative study, with some light quantitative elements (surveys):

Key participant groups

1. Traditional cinema auteurs and film practitioners

a. Directors, DPs, editors, VFX supervisors who work primarily with NEW candidate image workflows

b. New image : understand how they conceptualise NEW IMAGE / AI cinema, threats/opportunities, and the ontology of the image. Useful for critical dialogue on craft, ontology, ethics, authorship, and the place of A‑IM in film language. Also their attitudes and level of understanding

2. Emerging NEW IMAGE / AI filmmakers / artist-researchers

a. People making short films, features, or artworks using GenAI tools (Runway, Pika, Sora-like models, etc.)

b. Includes hybrid practitioners (using NEW IMAGE / AI for storyboards, pre-viz, or segments) and those attempting fully NEW IMAGE / AI-generated works. Can view their hands‑on workflows

3. Technology / platform stakeholders (optional)

a. ML Engineers, product managers, or (maybe) policy/ethics leads at Gen / AI companies or tool providers

b. *People (in distribution)from platforms hosting target films (YouTube, Vimeo, festival platforms, curated target film sites).

4. *Industry gatekeepers / market blockers

a. Festival programmers, curators, commissioning editors, producers, funding body representatives, screen agency staff. (for case studies, recruitment, and exhibition channels)

b. Film critics and journalists specialising in digital/NEW IMAGE / AI cinema.

c. Reps from Screen Australia and EU counterparts

5. Audiences and consumers

a. Cinephiles / film students (film schools, cine clubs, online communities)

b. General audience members (recruited via screenings, platforms, mailing lists), with attention to Australian context and cross‑cultural perspectives.

c. *Possibly a separate group for media-literacy / ethics-interested viewers.

6. Policy / governance / ethics experts (optional but valuable)

a. People involved in policy, copyright, data ethics, cultural policy, screen regulation.

7. Myself as auto-ethnographic subject

a. Me as a hybrid/autonomous filmmaker, keeping structured diaries, reflections, and artefacts.