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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
The influence that agent-student interaction has on learning can have significant outcomes in an ITS. Agent-human relationships within ITSs possess elements modeled by teacher-student relationships in the classroom. As a result, student perceptions of pedagogical agents can affect learning outcomes. An efficient environment can depend upon the intention for which the virtual agent is designed. As researchers gain more knowledge on the effect that characteristics outside of language have on learning, agent pedagogies can begin to be developed and perfected. In this research, we investigate the role that the pedagogical agent's gender has in the learning process. Specifically, we examine whether gender of agent interacts with gender of student to influence variables related to affect and motivation in ITSs
ContributorsStone, Melissa Linn (Author) / McNamara, Danielle (Thesis director) / Snow, Erica (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor) / Department of Psychology (Contributor)
Created2014-05
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
Live action and animation crossovers are not a new concept, the two have shared the screen successfully for a quite a long time i.e. Mary Poppins, Who Framed Roger Rabbit, Space Jam, Pete's Dragon, The Pagemaster, Lizzie McGuire. The lines between the two medium have blurred. This creative project will result in the complete production of a short live action film that has a 2D animated character who serves as a storytelling element, emphasizing the production and integration of this 2D character. This character aids in portraying the personality, feelings, and story of the main "real life" character to the audience.
ContributorsLocke, Regan Gabriella (Author) / Ralston, Laurie (Thesis director) / Westover, Chad (Committee member) / Graphic Information Technology (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Language comprehension is an essential skill in many aspects of life, yet some children still struggle with oral comprehension. This study examined the effectiveness of an intervention to improve the listening skills and comprehension of 4 and 5-year olds. This intervention is based on principles of embodied cognition, namely that language comprehension requires a simulation (or imagination) of what the language is about. Thus, children in the intervention condition moved pictures on an iPad to simulate the stories they were hearing. Children in the control condition saw the pictures, but did not move them. To identify the effectiveness of this simulation training, we analyzed scores on a comprehension test, and changes in motor cortex activity while listening. If the intervention increases simulation, then compared to the control, a) children given the intervention should perform better on the comprehension test, and b) those children should show greater activity in their motor cortices while listening. Furthermore, the change in motor cortex activity should statistically mediate the change in comprehension. Our results showed a significant positive correlation (.79) in the EMBRACE group (but not in the control) between the change in mu suppression before and after the intervention and the change in comprehension questions before and after the intervention. This correlation suggests that children can be taught to use their motor cortices while listening, and supports our hypothesis that embodied language theories, such as simulation are useful for enhancing comprehension.
ContributorsMarji, Michelle Lee (Author) / Glenberg, Arthur (Thesis director) / Blais, Chris (Committee member) / Restrepo, Laida (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Psychology (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
TIME CLASH
by
Sam Gerkin
A Serialized Single-Camera Comedy for Streaming
For my Thesis, I wrote an original TV Pilot Script and a Series “bible”. In lieu of a defense, I wrote a paper about the process of writing the Pilot.
Defining Principle:
Though different people often have very different beliefs, we all must fight for the beliefs that hold a society together.
Logline:
Extremely different individuals from the past, present, and future must find a way to work together to save the universe from evil creatures in present-day Phoenix, Arizona.
by
Sam Gerkin
A Serialized Single-Camera Comedy for Streaming
For my Thesis, I wrote an original TV Pilot Script and a Series “bible”. In lieu of a defense, I wrote a paper about the process of writing the Pilot.
Defining Principle:
Though different people often have very different beliefs, we all must fight for the beliefs that hold a society together.
Logline:
Extremely different individuals from the past, present, and future must find a way to work together to save the universe from evil creatures in present-day Phoenix, Arizona.
ContributorsGerkin, Samuel (Co-author) / Gerkin, Sam (Co-author) / Maday, Gregory (Thesis director) / Bernstein, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
When you think of actors, you probably think of the glitz and glam of Hollywood. It is a career many desire to have because of this initial perception. Who does not want to live the lavish life of an actor? Who does not want to get paid to basically play dress up? The truth is acting is much more, and less, than that. In fact, there are almost no two actors with the same exact journey to where they are. The career itself is very subjective, which is quite the scary thought to many including myself. Since I was a kid, acting is all I wanted to do. However, I have also always been someone who enjoys stability and consistent next steps, which is why I have been terrified at the idea of pursuing acting for so long. It is not a career that guarantees success. It is not even a career that has one definition of success. What is not shown behind the flashing lights and the glamour is what it truly takes to “make it”. Like I said, there are different variations of “making it” as well. Because of this idea that a career in acting is not all one thing, I wanted to find the commonalities. Are there things anyone who wants to be an actor, whether it is theater, film, television, or commercial acting, can do to increase their chances for success? What are the steps necessary to be taken seriously in this industry? In this thesis, I am going to explore the intricacies of this career to try to answer these questions.
ContributorsBrook, Loza H (Author) / Collis, Adam (Thesis director) / Espinosa, Micha (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism & Mass Comm (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Educated is a single camera comedy developed as an adaptation of my and my friend Mazhar’s actual friendship through college into a 30 minute single-camera comedy show that attempts to portray a representative college experience in a way that has not been done before on television. I created a multi-faceted survey about the state of current content set on a college campus as well as elements of what respondents define as representative of a true college experience. My survey featured sections assessing demographic information, collegiate involvement, ability to recall films and TV shows set on a college campus, evaluation of the reality level of existing college films and TV shows, and viewership preferences. Those that took the survey believed that college as currently presented in film and TV is inaccurate and focuses on aspects like party culture over the true complexity of life at a university. In addition, respondents could recall significantly fewer college TV shows than films, and consistently rated that they did not feel represented by the university-set content that they had dealt with. Based upon this information and my own experiences throughout my four years at a university, I developed the concept for my show and wrote concept paragraphs for three 10-episode seasons of the show, with each season representing one academic year at the university. The show focuses equally on the lives of Mazhar and Eli, two high school best friends going to their state university and capturing their experiences with a diverse cast of friends, romantic interests, and professors.
ContributorsBliman, Eli Joshua (Author) / Maday, Gregory (Thesis director) / Sopha, Matthew (Committee member) / Department of Marketing (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
This thesis interprets and discusses the concept of representation of marginalized groups on television. The focus is on the character of Piper Chapman from the Netflix original series Orange is the New Black, and how her depiction is a unique kind of approach to the idea of The Burden of Representation. This idea theorizes that where there is representation, there is a duty held by the creators to tell a story that will not damage the communities it represents, as those stories shape the way the people who consume them think about said communities in real-life situations. However, if the creators were to construct a character or narrative that is perfect and “to-good-to-be-true,” that narrative may not be true to what is experienced by people in day-to-day life. One approach to this problem of non-damaging representation vs. genuine representation, is to create a character or narrative that is imperfect, but still a positive depiction. Not all “good” representation has to be perfect representation.
Through the examination of Piper Chapman’s character development, the narrative structure of Orange is the New Black, and the historical context of its representation in comparison to previous iterations, this thesis analyzes the unique way in which the show approaches its characters, setting, and storylines. The main subjects of analysis are Piper, and her girlfriend Alex Vause, each representing the bisexual and lesbian communities, respectively, and the major tropes that will be discussed are “the experimenting bisexual,” “the criminal lesbian,” “the vampiric lesbian,” and “bury your gays.” Each trope plays a significant role on the show, but the way the show uses its narrative structure and character development creates a new approach to the subversion of said tropes. Orange is the New Black focuses on telling a more human story rather than creating a perfect representation, while it still maintains a positive image for its characters.
Through the examination of Piper Chapman’s character development, the narrative structure of Orange is the New Black, and the historical context of its representation in comparison to previous iterations, this thesis analyzes the unique way in which the show approaches its characters, setting, and storylines. The main subjects of analysis are Piper, and her girlfriend Alex Vause, each representing the bisexual and lesbian communities, respectively, and the major tropes that will be discussed are “the experimenting bisexual,” “the criminal lesbian,” “the vampiric lesbian,” and “bury your gays.” Each trope plays a significant role on the show, but the way the show uses its narrative structure and character development creates a new approach to the subversion of said tropes. Orange is the New Black focuses on telling a more human story rather than creating a perfect representation, while it still maintains a positive image for its characters.
ContributorsMcdermot, Kathryn Lynne (Author) / Miller, April (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