Matching Items (13)
Filtering by
- All Subjects: Film
- Creators: School of International Letters and Cultures
Description
While studying in Japan, I became fascinated by the variety shows my roommates would watch. These shows featured a flexible format with comedians and other entertainers participating in a wide variety of activities. For my senior creative project, I decided to determine what features were essential to Japanese variety shows, and to then use these features to create my own program.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
In order to determine the essential features of Japanese variety television, I watched a total of 22 episodes of three popular Japanese variety shows: Gaki no tsukai ya arahende (ダウンタウンのガキの使いやあらへんで! Usually abbreviated as ガキの使い), London Hearts (ロンドンハーツ), and Utaban (うたばん). I chose these three shows because of their differing styles, popular comedic hosts, and impressive longevity, with a combined 58 years of runtime. Through my research, I was able to assemble the analyses of basic and technical features found in the next section of this document in addition to several pages of my own notes used to design my original program.
My own program, American Joke (アメリカンジョーク), is meant to be filmed in America featuring an entirely Japanese cast. The main idea of the show is to capitalize on the comedic potential of cultural differences by having Japanese comedians interact with American people and traditions.
In order to showcase the show, I filmed a short “sizzle reel” video featuring Japanese exchange students as the cast. Segments filmed included our “comedians” learning the high jump from ASU track athletes, bringing Japanese fermented soybeans to campus for American students to taste, and participating in an American-themed quiz show.
ContributorsAmkraut, Elliott R. (Author) / Chambers, Anthony (Thesis director) / Wilson, Bradley (Committee member) / Maday, Gregory (Committee member) / Barrett, The Honors College (Contributor) / Department of Economics (Contributor) / School of International Letters and Cultures (Contributor)
Created2014-05
![136397-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/136397-Thumbnail%20Image.png?versionId=nzagfFxkHAvYIGaXS_ZQl3ZrwxIFZdI3&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T070051Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=ab3eae66604b9012f17192da1a445597bee9d42b307afb4f8a9a93ce06cefaa4&itok=vDJSjFTm)
Description
The unprecedented rise of terrorist network ISIL has brought the revolutionary Salafi agenda to the forefront of global politics. This thesis provides an analysis of the ideology and an overview of ISIL. The research is comprised of reports on the organization from prominent think-tanks, books analyzing the tenets and thinkers of Salafi radicalism and original source material confiscated from ISIL's predecessor al-Qaeda in Iraq (AQI). An international coalition is posited as a solution to the threat as well as the Middle Eastern terrorist threat more broadly. However, the likelihood of such international cooperation is minimal, and the commitment it would require may make it unfeasible.
ContributorsSims, Alyssa Gabrielle (Author) / Simon, Sheldon (Thesis director) / Ripley, Charles (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / W. P. Carey School of Business (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
![133960-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/133960-Thumbnail%20Image.png?versionId=3e9U7CxIW15OEARaDc6P40GmYbtRabPz&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T145121Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=0181b048f9c4674e718035d16cc45c14d03b506177915791d07592769b44e18a&itok=whAsYl94)
Description
It is very difficult to construct an explicit definition of Jewish humor and, thus, even harder to identify examples of the use of this type of humor. In this paper, I use a literature review to set forth a list of characteristics of Jewish humor to aid in its identification and I explain the common reasons for the use of this humor. I use the characteristics of Jewish humor to aid in my identification of Jewish humor in five popular Jewish films from Argentina. I examine what aspects I believe to be exemplifying this type of humor and what this type of humor adds to the films in question. The films that I have chosen to analyze are: El abrazo partido directed by Daniel Burman, Cara de queso—mi primer gueto directed by Ariel Winograd, Relatos salvajes directed by Damián Szifron, Sol de otoño directed by Eduardo Mignogna, and Anita directed by Marcos Carnevale. Judaism is central to the plots of these five films and three of the directors (Burman, Winograd, and Szifron) are Jewish themselves. I show how the directors’ experiences with the Argentinian-Jewish community inform their use of Jewish humor. Lastly, I demonstrate how these examples of Jewish humor help to bring Judaism into Argentinian popular culture and, by doing so, allow Jewish stories and history to be told on a large scale.
ContributorsBuls, Mackenzie Taylor (Author) / Foster, David William (Thesis director) / Tompkins, Cynthia (Committee member) / School of Life Sciences (Contributor) / School of International Letters and Cultures (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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
![137552-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/137552-Thumbnail%20Image.png?versionId=hKgC7.JnNrkmnTvWv8yVTxJeFV2XcnQ0&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T070641Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=d6b22a5ad8a19d993f76b53c10fb2d68d49b2e0fef144c6610e301bd79b59033&itok=X5cdIpWG)
Description
Japanese animated film director Hayao Miyazaki is famous for his numerous film featuring female protagonists. These protagonists have been examined for their conformance and deviance with regard to widespread stereotypes of masculine and feminine traits. Miyazaki's female characters tend to exhibit nuanced and varied traits, with a balance of traditionally masculine and feminine characteristics. They also tend to demonstrate and moralize on larger social issues such as environmentalism and gender equality, advancing ideals for both Japanese and Western feminism. The status of these female protagonists as cultural icons is contrary to wider film trends that exclude women from the spotlight except when they conform to rigid gender roles.
ContributorsNevitt, Stephanie Nicole (Author) / Facinelli, Diane (Thesis director) / Creamer, John (Committee member) / Whitesman, Linda (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor)
Created2013-05
![136948-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/136948-Thumbnail%20Image.png?versionId=N9heTya4LW3Y7AfBoDfCWzS.RnL.8MII&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T070237Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=4f4707577714924c5473a4efc5fbbe1fc4a0b839972d7525d8b97b85dd693c2d&itok=toc_Kb_H)
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
![136925-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/136925-Thumbnail%20Image.png?versionId=WeyZSDtm8kaSS.qv2jNti5IMQyqpfDcV&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T070641Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=6d1df587582b995ae358d72544670418d5ffac9d89ce7dcab571f7ec1e4f41ef&itok=0hGyCBLW)
Description
The Soviet Union suffered immensely as a result of World War II. When the dust settled and Soviet citizens began to rebuild their lives, the memory of the social, economic, and human costs of the war still remained. The Soviet state sought to frame the conflict in a way that provided meaning to the chaos that so drastically shaped the lives of its citizens. Film was one such way. Film, heavily censored until the Gorbachev period, provided the state with an easily malleable and distributable means of sharing official history and official memory. However, as time went on, film began to blur the lines between official memory and real history, providing opportunities for directors to create stories that challenged the regime's official war mythology. This project examines seven Soviet war films (The Fall of Berlin (1949), The Cranes are Flying (1957), Ballad of a Soldier (1959), Ivan's Childhood (1962), Liberation (1970-1971), The Ascent (1977), and Come and See (1985)) in the context of the regimes under which they were released. I examine the themes present within these films, comparing and contrasting them across multiple generations of Soviet post-war memory.
ContributorsScribner, Quinton Donald (Author) / Benkert, Volker (Thesis director) / Von Hagen, Mark (Committee member) / Manchester, Laurie (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / School of Politics and Global Studies (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2014-05
![134613-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/134613-Thumbnail%20Image.png?versionId=yzLvjGoyB53JJ61fWV2ZAHWJM4GxGjqD&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T070641Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=a045ddf3ab298d97d64755e332403e13690cb37e6ea941b371fb5ed09b0d414c&itok=Nu4-TAch)
Description
This work examines three common practices—yellowface in Cloud Atlas (2012), whitewashing in Star Trek Into Darkness (2013), and absence in Firefly (2002)—employed in popular science fiction that represent Asianness and disregard the Asian body. Though the creators purport to have progressive ideals at the center of their production choices, their works call on Techno-Orientalist and Orientalist tropes and divorce them from the Asian body, implicitly continuing the Orientalist argument of Western supremacy even in representing Asianness.
ContributorsTse, Kassidy Laurane (Author) / Miller, April (Thesis director) / Rondilla, Joanne (Committee member) / Department of English (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
![132966-Thumbnail Image.png](https://d1rbsgppyrdqq4.cloudfront.net/s3fs-public/styles/width_400/public/2021-05/132966-Thumbnail%20Image.png?versionId=TpEspBERPcbMsb16Jxb39gxuoGTskgT1&X-Amz-Content-Sha256=UNSIGNED-PAYLOAD&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=AKIASBVQ3ZQ42ZLA5CUJ/20240424/us-west-2/s3/aws4_request&X-Amz-Date=20240424T145121Z&X-Amz-SignedHeaders=host&X-Amz-Expires=120&X-Amz-Signature=024fcb6dcf38a7b92a0bcc69122c9b2275352bce2d04bb571256f38dd8ca29eb&itok=jKcoWc_a)
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
The purpose of this honors thesis project is to educate and excite French students on the subject of French films, as well as any person who might be interested in immersing himself/herself in the world of French cinema. This project aims to provide an introduction to French culture through film, and thereby inspire a love of Francophone culture and movies. To accomplish this goal, this honors project will first introduce the differences between French and American films and explain how those differences are based on the underlying culture of the two regions. These differences, in addition to the language barrier, can cause cultural misunderstandings. As a result, these misunderstandings often prevent many Americans from ever experiencing French cinema. The varying history, pacing, writing styles, and gender roles of French and American films can be analyzed to discover each culture's norms and values. Though films often come from a place of imagination, they can also give clues about the life of the society that creates and watches them. After first exploring the history and evolution of cinema in France and America, the project will also analyze the major cinematic differences between the two. Finally, the project contains advice for the reader on film-watching strategies to maximize his/her understanding and enjoyment. Films can serve as a unique and educational lens where viewers can observe cultures in an entertaining environment. When watching foreign films, viewers can hope to gain more insight into the people and the norms of different cultures, and hopefully they will become excited to learn more.
ContributorsSelman, Kaitlyn Michelle (Author) / Poteet, Lesley (Thesis director) / Bahtchevanova, Marianna (Committee member) / School of International Letters and Cultures (Contributor) / WPC Graduate Programs (Contributor) / School of Accountancy (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12