Link to Leeds Beckett Repository record: http://eprints.leedsbeckett.ac.uk/5332/ Document Version: ArticleThe aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law.The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team.We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis.Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on openaccess@leedsbeckett.ac.uk and we will investigate on a case-by-case basis.Beyond the frame: Use of augmented screenings as a visual methodology in critical event studies. Lamond, I.; Agar, L. AbstractDisrupt is an ongoing project exploring methodologies appropriate to critical perspectives in event studies, suitable for researching activism, protest, and events of dissent. This paper considers the use of augmented film screenings, which combine cinematic presentation with non-film/live elements and panel-led discussions, as one of the approaches trialled as part of the project. Rooted in techniques based in photo and video elicitation, whilst incorporating aspects of the use of film to educate, stimulate and provoke radical debate, employed by Latin American activists since the 1960s, the augmented screening approach explored in this paper formulates an innovative approach in evental visual research methodology. Going further than photo and video elicitation, it combined film with live disruptive elements in the attendee experience to legitimise participant engagement with narratives that challenge the dominant hegemonic discourses in which we act and interact. In conclusion we consider some of the limitations and opportunities of evental research methods that use film as a key element within a framework anchored in a visual elicitation approach.

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