Dr Amy Hardie is a documentary film-maker with several international awards. Her documentary feature The Edge of Dreaming, was the first Scottish feature documentary to be selected for competition at IDFA in 2009 and was awarded the Grand Jury Prize, Kiev International Film Festival. She graduated from the National Film and Television School in 1990 with the BP Expo prize for best student documentary (Kafi’s Story).
Dr Hardie’s research interests include close collaborative work with research scientists and health professionals. She directed and produced six films with the Centre for regenerative medicine, including Stem Cell Revolutions (Tam Dalyell medal, and Best Documentary Milan). After a year spent as film-maker in residence in Strathcarron Hospice, she has received BBC and international finance to direct a feature documentary: 'The Singing Hospice'.
Although her research is primarily through practice, she is currently editing a book on the creative arts and medicine. She has contributed journal articles on audience engagement throughout distribution and production phases of film-making. Her work is frequently screened in the rapidly growing field of Medical Humanities. She headlined the annual Brainwave event at the Rubin Museum in New York in 2011 amongst artists and thinkers such as Debra Winger and Robert Stickgold, leading workshops developed from The Edge of Dreaming. These workshops and lectures toured 18 US cities (including the Carla Kuhn lecture in Columbia, New York) and film and Jungian conferences, where scholars explored the film’s contribution to debates around neuroscience and the symbolism of the unconscious.
Dr Hardie supervises PhD students in film and television and trans-disciplinary documentary in Literatures, Languages and Cultures. She has examined on documentary distribution models. Current PhDs supervised include:
PhD by practice
Zeynep Merve Uygun
Body Space Relationship and alternative spaces in modern Turkish women’s experience
Verbal and visual language experiments in the creation of an ontological understanding of death in film.
Auto-ethnographical film-making as a political portrait of a complex period of Portugal’s history