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- All Subjects: Creative Project
- All Subjects: Film
- Creators: School of Art
- Status: Published
Description
For my Barrett Creative Project, I created an art installation that fostered comprehension, empathy, theorization, and healing surrounding the topic of mass gun violence in America. I used the space I was given in Gallery 100 as a graduating BFA student to host a multimedia installation designed to nurture these ideas.
ContributorsDallman, Erica Ashley (Author) / Sale, Gregory (Thesis director) / Hanson, Erika (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Currently the Chinese marketplace is very much influenced by its economic, demographic, political, technological, and sociocultural trends. The Chinese population is aging, and the gender ratio is being tipped to favor the male population. Also, the urbanization of rural parts of China has lead to a rising middle class with higher inclinations to spend their income. Along with these changes, China has fully embraced technological innovation, from mobile payments to sharing economies, to allowing social media access to almost all functions of daily life. The Chinese film market used to consist of mainly government-produced domestic films, but since the the first insurgence of foreign imports, China’s desire for Hollywood films has sparked and grown immensely.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
However, while the general public has a high demand for foreign films, the key player in exporting a film and distributing it into China is the Chinese government and related censorship bodies. Since China is a widely untapped marketplace for foreign filmmakers, it makes sense to enter, and there are three ways a film can do so: a flat-fee export, the revenue sharing, and the co-production model. The flat-fee export model entails a straight export into China, including only a flat price, no sales revenue. The revenue-sharing model is the desired choice for big-budget studios since they get a percentage of the ticket sales in China, but there are only a select few spots that are filled each year. The co-production model is when an American film studio partners with a Chinese production company and they create a film together. This model allows the film be considered domestic, but comes with many stipulations regarding Chinese presence and influence in the film.
For an independent film company looking to expand in the most lucrative international market, the best way to effectively create, market, and distribute a movie in China is to first craft a broad, unique, and attainable mission statement. Once the goals of the company are created, then key factors for success are choosing the best method of entry into the marketplace while adeptly taking the government influence into consideration, hiring locals who have previous experience in the Chinese film industry and have a deep understanding of Chinese history, culture, and the current social trends, and taking advantage of all the avenues that are available to market and distribute the film. Overall, the best options for a small independent film company in America would be to create an animated feature with two versions, or a live-action film featuring prominent Chinese actors. These are the most feasible under the flat-fee model for those with a limited financial budget, or a co-production approach for those interested in a more long-term investment plan with China.
Overall, there are many moving parts and aspects to consider when entering the Chinese movie marketplace, and this research and suggestions are geared towards making sure that if going to China is possibility, then this information provides the best tools and resources to ensure that venture is a success.
ContributorsCrozier, Julianna (Author) / Eaton, Kate (Thesis director) / Schlater, John (Committee member) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / Department of Marketing (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
Over the summer of 2018, I had the incredible opportunity to serve as an AmeriCorps member through the Providing Access to Court Services Program (PACS) program. It was the duty of the AmeriCorps members to provide access to justice to the community. Serving as an AmeriCorps member opened my eyes to many parts of the court system I did not know existed, and made me want to explore more ways I could help the community in Maricopa County. One of the many factions of the Maricopa County Superior Court that I had the privilege of learning more about was Drug Court. Drug Court, at the Maricopa County Superior Court in Downtown Phoenix, started in 1992 as a program designed to monitor and provide counseling for offenders in hopes to break the cycle of substance abuse and addiction. Commissioner Guyton, the Presiding Commissioner of Drug Court, came to the AmeriCorps program in the Summer of 2018 in hopes of adding a new program of life-skills workshops to be used as an alternative sanction for offenders going through Drug Court. The On Second Thought program offers life-skills workshops that aim to encourage success within the Drug Court Program at the Maricopa County Superior Court in Downtown Phoenix, and promote further success in life after graduation. The two workshops developed include the "Basic Writing " and "Resumes, Job Search, Job Interviews" workshops. This program has been a successful new part to the Drug Court program and will continue to educate and inspire each individual that walks through the door.
ContributorsInoshita, Irelan Hope (Author) / Kenney, Patrick (Thesis director) / Porter, Lisa (Committee member) / Historical, Philosophical & Religious Studies (Contributor) / School of International Letters and Cultures (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Although frequently undetected or ignored, counterculture groups commonly face misrepresentation in popular media and, in turn, society. These subcultures are often depicted as undesirable or dangerous, creating a negative stereotype that follows the individuals who choose to express themselves in the aesthetics and lifestyles of non-normative communities. This creative project celebrates the beauty and sense of rebellion that can be seen in counterculture groups, and provides viewers with a window for viewing them in a new perspective. Considering the vastness of this topic, this project approaches it from three different directions: a series of photographic staged portraits, a series of digitally illustrated character portraits, and a written analysis to begin a discussion around the types of misrepresentation of countercultures and the potential impacts of that phenomenon. The process of planning was difficult yet rewarding, as it was important to ensure that the work would not contribute to the cycle of misinformation, but rather bring visibility to countercultures in the formal art realm. The photographed body of work recreates the composition of famous genre paintings by Judith Leyster and Johannes Vermeer, but substitutes the subjects for a model dressed in the conventional aesthetic of a particular counterculture. There are four portraits in this series, depicting Punk, Goth, Metal, and Emo cultures, using costuming as well as clues in the surrounding environments. By adopting the genre practice of depicting scenes of everyday life, the counterculture communities become normalized for the viewer as people living similar lives to their own. This portion of the thesis is largely inspired by Cindy Sherman, a visual artist who stages portraits of herself as various characters to comment on ideals of beauty and the female form. Continuing to examine the idea of personality in counterculture, the digitally illustrated body of work pulls from four other countercultures to create portraits of fictional characters. Although imaginative, their designs reflect genuine aesthetics of the communities they represent, and are combined with photographic imagery to suggest their connection to real world peoples. The images represent Grunge, Glam-Rock, Non-Binary, and Scene cultures, with each character receiving a name, location, and occupation to challenge first impressions and demonstrate their roles in society. The characters are drawn in a cartoon-like style with the intent to design them as something one might see in popular media (such as in graphic novels). Lastly, these bodies of work are complemented by a brief analytical introduction into the issues of misrepresentation of countercultures in popular media. Intended to be a catalyst for future discussions, the piece discusses the importance of representation and the harmful effects of misinformation in media, and explores contemporary examples of such issues in depictions of Punk and Goth communities in television. In combination with the two series, this analysis will guide viewers as they proceed to interpret and internalize their own meaning from the project.
ContributorsFinger, Kourtney Rose (Author) / Drum, Meredith (Thesis director) / Ellsworth, Angela (Committee member) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
The common human experiences depicted in classical paintings from art history are becoming less relatable due to the increasing influence and presence of technology in our day to day lives. This project contains two parts. The first part is a remixing of 3 classical works of art so that they include the presence of technology and communicate the possible evolution of human experiences as technology will be incorporated into them. The three remixed paintings are as follows: Eduoard Manet's Olympia, which showcases the human experience of relationships and gender dynamics; Edgar Degas' Dancers, which showcases the human experience of creation and learning; and Raphael's Madonna del Granduca, which showcases the human experiences of child-rearing, maternity, and childhood. The second part of the project utilizes the ekphrastic process, ekphrasis being the process of using the written word to give voice and explanation to a piece of visual art. In this part of the project, three short science-fiction stories were written, one in response to each of the classical paintings and its respective remix. The stories focus on themes of how technology will integrate itself into the common human experiences of parenting, entertainment, and intimate relationships, and the problems and solutions that may arise as a result. The stories are intended to be read alongside the paintings, however they can also be read separately without the context of the paintings from which they were drawn. Likewise, the paintings can be viewed separately from the short stories. The work is complimentary and builds on itself.
ContributorsFrancois, Nathan Peter (Author) / Finn, Edward (Thesis director) / Meissinger, Ellen (Committee member) / School of Art (Contributor) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
My thesis provides an in-depth analysis of the Tarantinoverse, a shared universe in which most of Quentin Tarantino's movies exist. I start by talking about the relationships between characters across different movies and how Tarantino portrays them. I examine how he has some characters who are brothers and some characters who have ancestral relationships with other characters. I also observe how two characters in separate movies are the same person and that there is one non-familial relationship within Tarantino's shared universe. Next, I investigate the two distinct universes that make up the Tarantino's cinematic universe, the "realer than real" universe and the "movie" universe. In that section, I explain how he uses crossover characters, who can exist in both the "realer than real" and "movie" universes and how they represent different types of people that exist within both universes. Then I examine fictional products that are exclusive to Tarantino's shared universe. In that segment, I examine how Tarantino critiques the way other filmmakers use product placement in their movies and the way movies are used to market products. After that, I discuss how Tarantino's alteration of history in Inglourious Basterds, namely Adolf Hitler's death, affected the society of Tarantino's movies with respect to popular culture and violence. Regarding pop culture, I examine how Tarantino's characters use pop culture references, how frequently they used them, and what they reference in Tarantino's movies set before Hitler's death and contrast those with the same three aspects in movies set after Hitler's death. Finally, I inspect on how Tarantino uses violence within his movies and contrast how he uses it in movies before Hitler's death and how he uses it in movies set after Hitler's death.
ContributorsMurwin, Nicholas (Author) / Maday, Gregory (Thesis director) / Miller, April (Committee member) / School of Historical, Philosophical and Religious Studies (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
My creative project involved the creation of a short, abstract animation set to EDM music. It's meant to mimic the graphics displayed in the background of EDM concerts and was inspired by Beeple and the graphics he designed for EDM artist, Zedd. Under the guidance of my director, Meredith Drum, and with help from my second committee member, Muriel Magenta, I was able to use Audacity to edit the music, Autodesk Maya 2016 to model and animate the animation, the HIDA render farm to render the frames using Maya Software and mentalray, Adobe After Effects CC to assemble and edit the animation, and Adobe Media Encoder to export the end product. The final animation included 20,855 individual frames, totaling to 14 minutes and 28 seconds in length. The project takes the viewer through seven worlds to express the idea of feeling isolated in your home, exploring the world, and then returning home with a new perspective. Each world evokes a different emotion through the interaction of its visual and audio design to allow the viewer to experience the intended storyline without explicit characters or plot detail. Due to the importance of maintaining plot flow, I utilized beautiful, yet difficult, design elements including glass textures, ocean shaders, and paint effects to create drastically different world designs specific to each song. These songs were chosen from a variety of EDM artists and edited to flow together seamlessly through each world and evoke a different emotion. Throughout the thesis process, I gained more skills in animation and editing and greatly improved my ability to use each application. While there is plenty of room to grow, I have improved exponentially as an artist from when I began this project to the moment I completed it.
ContributorsMallik, Ajanta Angie (Author) / Drum, Meredith (Thesis director) / Magenta, Muriel (Committee member) / The Design School (Contributor) / Department of Psychology (Contributor) / School of Social Transformation (Contributor) / School of Art (Contributor) / WPC Graduate Programs (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
DescriptionThrough artist book, printed photographs, paintings, writing, and web design, August Tang deconstructed their identity as a nonbinary person. Both educational and expressive, the creative project was a manifestation of a coming out journey, affirmation of gender identity, and experiences relating to gender with friends, family, and strangers.
ContributorsTang, August B (Author) / Button, Melissa (Thesis director) / Sanft, Alfred (Committee member) / School of Art (Contributor) / Dean, W.P. Carey School of Business (Contributor) / The Design School (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
The tarot is a means of communication with the world. It allows readers to interpret signs from their surroundings, gather information, and use this information to make inferences about a posed question. Its origins can be found in mid-15th century Europe as playing cards with four suits commonly used for gambling. Several hundred years later during the 18th century, it began to be used as a tool for divination; the Major Arcana, a set of 22 trump cards representing various archetypes, evolved as a supplement to a new tarot that has become associated with mysticism. The tarot’s foundation is based on archetypes that build society. It can serve as a visual lens to understand the experiences, thoughts, and actions of a person posing a question, allowing the reader to offer a solution by understanding and interpreting the specific visual language of a deck.
Hinduism is one of the oldest religions in the world and one of the most practiced today. It is full of fantastical myths and heroic legends, as well as undercurrents of feminism contrasted with misogyny and patriarchy. Hindu myths are contradictory as stories have evolved over time and have been retold with millions of differing perspectives.
In my thesis, I portrayed the 22 archetypes of the Major Arcana of the tarot through the lens of Hindu mythology as well as the broader pan-Indian culture. I include ancient stories and references to modern social issues. I visually communicated the connections between characters of Hindu mythology and the archetypes of the tarot with 22 watercolor paintings. This project was an opportunity to explore both the tarot through Hinduism, vice-versa. It allowed for the development of a deeper connection with spirituality and religion, along with a greater understanding of visual communication.
Hinduism is one of the oldest religions in the world and one of the most practiced today. It is full of fantastical myths and heroic legends, as well as undercurrents of feminism contrasted with misogyny and patriarchy. Hindu myths are contradictory as stories have evolved over time and have been retold with millions of differing perspectives.
In my thesis, I portrayed the 22 archetypes of the Major Arcana of the tarot through the lens of Hindu mythology as well as the broader pan-Indian culture. I include ancient stories and references to modern social issues. I visually communicated the connections between characters of Hindu mythology and the archetypes of the tarot with 22 watercolor paintings. This project was an opportunity to explore both the tarot through Hinduism, vice-versa. It allowed for the development of a deeper connection with spirituality and religion, along with a greater understanding of visual communication.
ContributorsHarve, Prathima (Author) / Jenik, Adriene (Thesis director) / Codell, Julie (Committee member) / Zirbel, Lisa (Committee member) / School of Molecular Sciences (Contributor) / School of Art (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05