Recreating the Magic of Studio Ghibli is a creative project dedicated to recreating the imagery (and magic) of iconic Studio Ghibli films using costuming, props, set design, illustration, and photography.The project melds professional and personal interests, photography and cosplay, to create a gallery of nearly 200 images, with 80 or so direct recreations, inspired five films: Howl’s Moving Castle, Kiki’s Delivery Service, Ponyo, the Cat Returns, and Spirited Away. These images were shared in print (in a photo book) and in a digital gallery (ghofer.myportfolio.com/home).

Video link: "The Last Fire Sprite." For my Thesis Project, I wrote, directed and produced a 25-minute long animatic for my series “The Last Fire Sprite.” This animatic is to be used as a pilot for the show to pitch it to studios. It includes an all-star crew of 14 voice actors, 2 artists, a vocalist, and a composer. While most of the work was completed by myself, the project as a whole would not be as quality without the hard work of this amazing crew. The pitch: A young Fire Sprite named Blaise awakens in the future to find her world completely changed. Magic is scarce and sold to the highest bidder. A twisted oligarchy holds the last living witch hostage in order to remain in power. Blaise bands together with Axel, a young street rat, in order to evade countless bounty hunters after the price on her head. Only together can they free the last witch and bring magic back into their world. Please enjoy “The Last Fire Sprite: Welcome to the Future Part 1”! 

This project is a critical intersectional analysis of the representation of women in movies. I use thirteen movies to showcase how feminism is still needed in the US in order to move closer to a state of equity for everyone. I utilized film as a medium through which to represent this idea because film is intimately linked to societal values, beliefs, and norms, and therefore reflects what can be changed or improved in the US.

This thesis evaluates how films from Western Europe portray the social, political and economic degradation that allows the American influence to rise leading up to the Cold War. Specifically, this thesis evaluates classic films from Weimar Germany, the Soviet Union, post-fascist Italy and post-Vichy France as historical and cultural artifacts that depict the harsh conditions of postwar life and how American influence revitalized daily European life. While the American influence (defined as the support of democracy, technological modernization and a capitalist economy) was supported by many struggling Europeans who looked to the United States as a standard to rebuild, critics from each country viewed American influence as a threat to the stability of national independence which they sought to maintain as recovery balanced postwar society.

An entire decade of films that emerged from the Hollywood system during the blockbuster era of the 1980s is often summed up as one marked by a “curious and disturbing phenomenon of children’s films conceived and marketed largely for adults — films that construct the adult spectator as a child, or, more precisely, as a childish adult, an adult who would like to be a child.” If it is possible, as film theorist Siegfried Kracauer proposed, that “in recording the visible world — whether current reality or an imaginary universe — films … provide clues to hidden mental processes,” what are we to deduce about the mental processes of the American public who would pay to sit in a movie theater and watch Raiders of the Lost Ark (1981) or Rambo: First Blood (1982) for multiple viewings? In addressing this questions it may be helpful to turn again to Krakauer, who reminds us that a box office “hit may cater only to one of many co-existing [mass] demands, and not even a very specific one,” and that even if one could draw conclusions about the “peculiar mentality of a nation” by analyzing the “pictorial and narrative motifs” of box office hits, this “by no means implies a fixed national character.” This is a key insight because it implies a diverse national character composed of mass demands that remain unmet by the “children’s films” produced for adults which remain emblematic of Hollywood during the 1980s. In this thesis, I argue that the mainstream Hollywood film Beverly Hills Cop contradicts this notion because it employs sophisticated strategies to work as resistance against the dominant American cultural ideologies of the mid-1980s. I briefly contextualize the film in its historical and cultural setting. Then, I analyze three narrative aspects of the film. First, I begin with the various interactions Eddie Murphy’s character Axel Foley has with several “gatekeepers” throughout the film. Next, I analyze a scene in which Foley is assaulted by Sgt. Taggart of the Beverly Hills Police Department. Finally, I analyze Foley’s relationships with the supporting characters Mikey and Jenny. Beverly Hills Cop is one of the most popular and successful American films of the 1980s. Its subversiveness suggests the possibility that a host of other popular films from the decade are similarly sophisticated. This points to the need for a reexamination of a decade of American cinema that has been cast as “children’s films conceived and marketed largely for adults.”

A Conversation on Stuttering is a documentary film that is aimed at raising awareness about stuttering. Still not fully understood by modern research, stuttering (stammering in the UK) is a diagnosis often accompanied by years of ridicule, shame, and misconceptions. We set out to interview people who stutter, researchers, and clinicians alike to gain insight into the impact stuttering can have. Our participants in this documentary included four people who stutter, two clinicians, and 2 researchers (one of them being a person who stutters). The questions asked ranged from topics of physical and emotional aspects of stuttering to therapy experiences and research on what causes stuttering. From the mix of genuine, sometimes emotional, responses, the film captures flowing conversation on a range of experiences had by our interviewees. Through these responses, we hope to open further dialogue about the themes of identity, understanding our differences, and perspectives that can make a more accepting world.

A Conversation on Stuttering is a documentary film that is aimed at raising awareness about stuttering. Still not fully understood by modern research, stuttering (stammering in the UK) is a diagnosis often accompanied by years of ridicule, shame, and misconceptions. We set out to interview people who stutter, researchers, and clinicians alike to gain insight into the impact stuttering can have. Our participants in this documentary included four people who stutter, two clinicians, and 2 researchers (one of them being a person who stutters). The questions asked ranged from topics of physical and emotional aspects of stuttering to therapy experiences and research on what causes stuttering. From the mix of genuine, sometimes emotional, responses, the film captures flowing conversation on a range of experiences had by our interviewees. Through these responses, we hope to open further dialogue about the themes of identity, understanding our differences, and perspectives that can make a more accepting world.

A Conversation on Stuttering is a documentary film that is aimed at raising awareness about stuttering. Still not fully understood by modern research, stuttering (stammering in the UK) is a diagnosis often accompanied by years of ridicule, shame, and misconceptions. We set out to interview people who stutter, researchers, and clinicians alike to gain insight into the impact stuttering can have. Our participants in this documentary included four people who stutter, two clinicians, and 2 researchers (one of them being a person who stutters). The questions asked ranged from topics of physical and emotional aspects of stuttering to therapy experiences and research on what causes stuttering. From the mix of genuine, sometimes emotional, responses, the film captures flowing conversation on a range of experiences had by our interviewees. Through these responses, we hope to open further dialogue about the themes of identity, understanding our differences, and perspectives that can make a more accepting world.

Serial killers make up a small amount of crime yet are seen in hundreds if not thousands of movies. The way they have been presented and the films in which they are presented have evolved in the past three decades. Looking at six movies from this thirty year period, analysis of the evolution of serial killers in films will be discussed. There has been an increase in the levels of violence in these films as well as a more relatable, three-dimensional serial killer. There has also been a disproportionate amount of attention given to the serial killer rather than the victims.