Barrett, The Honors College Thesis/Creative Project Collection
Barrett, The Honors College at Arizona State University proudly showcases the work of undergraduate honors students by sharing this collection exclusively with the ASU community.
Barrett accepts high performing, academically engaged undergraduate students and works with them in collaboration with all of the other academic units at Arizona State University. All Barrett students complete a thesis or creative project which is an opportunity to explore an intellectual interest and produce an original piece of scholarly research. The thesis or creative project is supervised and defended in front of a faculty committee. Students are able to engage with professors who are nationally recognized in their fields and committed to working with honors students. Completing a Barrett thesis or creative project is an opportunity for undergraduate honors students to contribute to the ASU academic community in a meaningful way.
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- Creators: School of Film, Dance and Theatre
Description
Psychology and dance both shed light on the question: how do our personal, life experiences affect our movement? This document introduces elements from psychology and dance through associative learning, attachment styles, muscle patterning, and partner improvisation as ways of exploring this question. It aims to briefly introduce these theories and explain how they had a role in the research of the creative project. It also documents the inception, creation, and production of Lullabye, a dance work intended to be accessible to an audience with little to no experience viewing concert dance, with the target audience specifically being the writer’s mother. It has three sections, each featuring a different element of dance, storytelling, and individuality. It starts a conversation on how emotions and thoughts related to personal experiences can affect our movement.
ContributorsTello Solano, Carlos (Co-author, Co-author) / Kaplan, Robert (Thesis director) / Montoya, Yvonne (Committee member) / Schupp, Karen (Committee member) / Department of Psychology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Dale and Edna is a hybrid animated film and videogame experienced in virtual reality with dual storylines that increases in potential meanings through player interaction. Developed and played within Unreal Engine 4 using the HTC Vive, Oculus, or PlayStation VR, Dale and Edna allows for players to passively enjoy the film element of the project or partake in the active videogame portion. Exploration of the virtual story world yields more information about that world, which may or may not alter the audience’s perception of the world. The film portion of the project is a static narrative with a plot that cannot be altered by players within the virtual world. In the static plot, the characters Dale and Edna discover and subsequently combat an alien invasion that appears to have the objective of demolishing Dale’s prize pumpkin. However, the aliens in the film plot are merely projections created by AR headsets that are reflecting Jimmy’s gameplay on his tablet. The audience is thus invited to question their perception of reality through combined use of VR and AR. The game element is a dynamic narrative scaffold that does not unfold as a traditional narrative might. Instead, what a player observes and interacts with within the sandbox level will determine the meaning those players come away from this project with. Both elements of the project feature modular code construction so developers can return to both the film and game portions of the project and make additions. This paper will analyze the chronological development of the project along with the guiding philosophy that was revealed in the result.
Keywords: virtual reality, film, videogame, sandbox
Keywords: virtual reality, film, videogame, sandbox
ContributorsKemp, Adam Lee (Co-author) / Kemp, Bradley (Co-author) / Kemp, Claire (Co-author) / LiKamWa, Robert (Thesis director) / Gilfillan, Daniel (Committee member) / Arts, Media and Engineering Sch T (Contributor) / Thunderbird School of Global Management (Contributor) / School of Film, Dance and Theatre (Contributor) / School of International Letters and Cultures (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Video game culture, permeated for decades by blatant sexism and discrimination, is a toxic community for many individuals. Though its humble beginnings and early games did not overtly focus on the male gaze or demographic, troubled advertising, representations, and the lack of diversity within video game companies has formed the gaming culture into an increasingly hostile and unwelcoming place– especially for women. Those who identify as women or females are often harassed, heckled, and threatened with both verbal and physical violence. Game content and marketing continues to view women as objects of sexuality and violence rather than strong protagonists. Companies have brainwashed society to embrace their commonly held belief that men and boys are the only demographics that play and enjoy games, though this is empirically proven false. The aim of this project is to examine these offenses against women within the video game community– first by exploring video game history and how it fell into its toxic present state as well as the formation of the “gamer” identity and its ramifications for women. I then recount contemporary stories and issues of harassment against women within the community. The project also includes a short student survey that was sent out to gather more data on college-aged women and their gaming habits, which yielded important data supporting previous evidence citing specific gaming communities that struggle the most with these issues. The thesis is concluded by a look into the culture of game development and its hypermasculine nature as well as justification for why companies should care about the plight of women for both ethical and fiscal reasons.
ContributorsGulbransen, Alexis C. (Author) / Eaton, John (Thesis director) / Ingram-Waters, Mary (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This paper discusses the parameters of my creative project, which utilizes a staged reading of scenes from John Cariani’s Almost, Maine as a means of investigating the representation of queer individuals and relationships in theatre, film, and television. The first section provides background information on Almost, Maine itself, while the second section explains the details of the project and what to expect on the day of my defense. The next section explains my purpose in developing a project centralized around queer representation, and the last two sections are personal reflections of the both my growth throughout the creative process, and the final product: the performance and talkback.
ContributorsThompson, Savannah Blake (Author) / Maday, Gregory (Thesis director) / Rohd, Michael (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Every color that you see in film is purposely chosen by the filmmakers. The majority of film viewers do not consciously realize the role that color plays in their movie experience. Subconsciously, viewers are deeply affected by the color choices in the film as it changes moods, tones, characters, and more. By examining color in film, filmmakers are able to create better stories, therefore having a greater effect on the audience. By becoming aware of the role of color in film, audience members become better, more involved viewers.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
The following project is cut into three major parts: Color Theory in Film, An Analysis of Symbolic Color, and the Technical Applications of Color in Film. Part One gives the necessary background on color theory, light theory, color mixing, color associations, and color palettes needed to understand the rest of the project. Part Two examines color symbolism and color psychology in three films, detailing their importance to the storylines in-depth. Part Three looks at the ways filmmakers employ color during post-production, principal photography, and post-production. By looking at production design, the history of color grading, and the power of lighting and cinematography, one is able to discern the different effects color creates and how that effect is created.
ContributorsMcholland, Megan (Author) / Nascimento, Eliciana (Thesis director) / Klucsarits, Philip (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Art (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
In the Film and Media industries, it seems like it is completely male dominated both on and off the screen. With movements like Me Too and See Her it is important now, more than ever to make a change in the film industry. These movements have been great sparks to create changes in the field which lead to having more representation of women both on and off the screen and in film, tv and media. In my personal experience, when you are a woman on a film set it feels like you can get incredibly overshadowed or if you try to stand up for an idea you could be called bossy. A female mindset on a set, in major positions, seems like it can only be a good thing. Whether that is true or not there have been so few experiences and records of how an all-female set is ran. There is lot of fear that goes into running a set. Many women feel like they cannot handle the environment of a film set because of a certain stigma and stereotype of women in powerful positions. Women, while not always true, can be more understanding when difficult circumstances arise. The gender bias for larger film crews is almost 75 % male, this is a statistic that needs to change soon. It is important to teach the new generation that women in powerful creative roles in film is a normal occurrence and the only way we can get there is being more conscious about who is on our sets.
ContributorsSmith, Mallory Keller (Author) / Scott, Jason (Thesis director) / Lunde, Julia (Committee member) / School of Film, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
This thesis examines the ongoing debate/discussion surrounding the compensation of NCAA student-athletes. While some athletes receive full academic scholarships in addition to other perks that non-athletes might not receive, this makes one wonder if the compensation programs and protocols in place are fair, particularly considering the large sums of money athletes generate for their respective universities. Through lengthy interviews with two former Division I athletes, an associate athletic director at a major university, and a journalist who has covered this polarizing topic since some of its earliest milestones, we have covered both sides of this debate in the hope that the audience can take that information and form their own, thoughtful opinions. In addition to the interviews conducted during the process of writing this paper, we also conducted an extensive literature review of some of the most in-depth stories about the major milestones in the history of this discussion. While there may not be an amicable solution, knowledge and information constitutes the most powerful element that seems to largely be missing, often replaced by emotion. We seek to contribute to the solution by showing the human side of the debate and laying out exactly what is at stake before offering what we think, after this entire process, could be the answer. The issue is explored in more depth with supplemental podcasts submitted to Barrett, the Honors College at Arizona State University.
ContributorsFranklin, Jacob (Co-author) / Gaither, Justin (Co-author) / Anderson, Douglas (Thesis director) / Reed, Sada (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This thesis examines the ongoing debate/discussion surrounding the compensation of NCAA student-athletes. While some athletes receive full academic scholarships in addition to other perks that non-athletes might not receive, this makes one wonder if the compensation programs and protocols in place are fair, particularly considering the large sums of money athletes generate for their respective universities. Through lengthy interviews with two former Division I athletes, an associate athletic director at a major university, and a journalist who has covered this polarizing topic since some of its earliest milestones, we have covered both sides of this debate in the hope that the audience can take that information and form their own, thoughtful opinions. In addition to the interviews conducted during the process of writing this paper, we also conducted an extensive literature review of some of the most in-depth stories about the major milestones in the history of this discussion. While there may not be an amicable solution, knowledge and information constitutes the most powerful element that seems to largely be missing, often replaced by emotion. We seek to contribute to the solution by showing the human side of the debate and laying out exactly what is at stake before offering what we think, after this entire process, could be the answer. The issue is explored in more depth with supplemental podcasts submitted to Barrett, the Honors College at Arizona State University.
ContributorsGaither, Justin (Co-author) / Franklin, Jacob (Co-author) / Anderson, Douglas (Thesis director) / Reed, Sada (Committee member) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
BETTA, a narrative music video short film was produced by Kaitlyn Baucke and directed by June Hucko, and written by both filmmakers. By employing the knowledge and experiences gained in their academic careers, they were able to create a compelling yet experimental film that challenges the idea of whether or not people are simply compilations of their memories, and experiences. Sparked by an interest in music media, this project is in the visual style of a music video, but with a 10-minute narrative. This film lightheartedly tells the story of a young woman whose most cherished memories are always accompanied by a meal of tacos. Each memory is memorialized through the collection and personalization of receipts from the taco shop. After collecting hundreds and hundreds of these receipts, she reaches a turning point in her life where she finds herself overrun by her past memories, both positive and negative. She is faced with a decision in which she must choose to dwell in her past, or leave behind memories in order to move forward. The film is scored entirely by original songs of local, ASU affiliated musicians and bands. Producing this film required an extensive pre-production phase of writing, revisions, casting, securing crew, locations, equipment, funding, scheduling, and more. Setting deadlines, sticking to budget, and ensuring smooth production was key to success. From inception, to pre-production, to reflection, this project has allowed the filmmakers to experience evolution, challenges, failures, and immense creative development.
ContributorsBaucke, Kaitlyn (Co-author) / Hucko, Jennifer (June) (Co-author) / Maday, Gregory (Thesis director) / Klucsarits, Philip (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
This project includes the data collection and stories of both survivors and witnesses of sexual harassment in the film industry who work in behind-the-camera roles. The main piece goes through the data collected by a survey conducted by the author, concerning the amount of people who have been affected, the amount of times it has happened, the amount of people who have witnessed sexual harassment, and finally concludes with how they want others to react. It takes a look into the actual numbers of sexual harassment victims and witnesses and allows a look into just how common it is, even before and after the rise of the #MeToo movement. The second piece gives detailed accounts from people who were brave enough and decided to tell their stories, and this gives them a platform to do just that. These are their actual experiences while working on a film set, though the type of set varies from person-to-person. The author did not add or take away anything from the stories, only redacting the names of people or places who might put others at risk. People from all backgrounds, ethnicities, age, and gender participated in this study with the belief that their stories and responses would remain anonymous as they continue to work in the film industry or working their way there, and that is what was achieved. The two pieces work together to allow people to not only see the statistics, but the real-life experiences people continue to suffer while at the work place just doing their job.
ContributorsWillis, Savannah Stewart (Author) / Scott, Jason (Thesis director) / Griffith, Crystal (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12