Matching Items (33)
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- All Subjects: Film
- Creators: Bernstein, Gregory
- Creators: School of International Letters and Cultures
- Creators: The Sidney Poitier New American Film School
- Member of: Barrett, The Honors College Thesis/Creative Project Collection
Description
Can You Hear Me is a short documentary which seeks to give voice to the experiences of trans and nonbinary students in ASU classrooms. What I present in this project are the direct spoken accounts of the feelings, thoughts and frustrations of transgender and nonbinary students as they navigate university classrooms at Arizona State University. Can You Hear Me serves as a representational platform for trans and nonbinary students to communicate their experiences to other students, staff and faculty in the hopes that it might help make classroom spaces more inclusive.
ContributorsKeranen, Gabriela R (Author) / Miller, April (Thesis director) / Ganssle, Gene (Committee member) / The Sidney Poitier New American Film School (Contributor) / School of Life Sciences (Contributor) / School of Social Transformation (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
Beautiful Accidents is a debut drama-comedy feature screenplay written as a thesis project. For a screenwriter trying to bloom in the Film Industry, the big question is "where is your great feature script?" and "how many do you have?" The pressure is all about the quality of the work and how many feature screenplays are written. Thus, this draft has been in pre-production and conception for a year and a half now. The draft presented as the thesis project is the third draft of a total of three versions of the script. The first and second drafts are drastically different from this third draft in content and character development. After having the opportunity to attend the Cannes Film Festival, the inspiration for another new and improved third draft came to be. It runs 93 pages, and goes beyond presenting an example debut feature screenplay. Throughout the process of writing a feature screenplay, learning to write several drafts to reach a polished draft is a crucial part of the journey as a writer. This was not only a project that included writing a feature film screenplay, but it also contained valuable lessons about the growth of an inspiring writer in regards to being willing to go through several drafts. In addition to the third draft of the script, a teaser opening of the first scene was produced, directed, and starred in as another segment of the thesis project. Run Time: 2:51. The goal for this teaser opening is to serve as a visual sample along with the screenplay. When the time comes to search for investors and producers for the script, this teaser will accompany the material. The script is intentionally written to be a low budget film, so that production could take place independently and locally for a tight budget. The ultimate goal is to produce this film as either an independent film or a semi-independent as writer/director of the project. Synopsis: A quirky romantic comedy about two individuals, Meg and Dave, who believe they are narcissists explore their own perceived narcissism in one another. Meg is a budding music genius who is stuck at Law school, while Dave is a bartender and pool shark. At the ripe age of 22, Meg finds herself for the first time in her life, deeply fascinated in one other person other than herself: Dave, who happens to also be ten years older than her. Her first meeting with Dave is purely an accident, as their continued journey appears to have plenty of them. These accidents prove to be, however, beautiful.
ContributorsKheshtchin-Kamel, Amena (Author) / Montesano, Mark (Thesis director) / Bernstein, Gregory (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2015-05
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
Description
Script supervising is a job on a film set that is often overlooked; however, without the script supervisor there could be countless errors in a movie. Script supervisors keep track of the continuity of the script, including matching actions, eye-lines, and all of the details in the set. The other main task of the script supervisor is to record information; he or she keeps track of the director's favorite takes, general camera information, and what each shot covers. My thesis covers an in-depth look at the practice of script supervising as well as my experiences script supervising two feature films.
ContributorsGeske, Victoria Manette (Author) / LaMont, Christopher (Thesis director) / Bernstein, Gregory (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2014-12
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
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
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
DescriptionA short film about a mother and a daughter.
ContributorsJun, Seo-Young (Author) / Taylor, Philip (Thesis director) / Bernstein, Gregory (Committee member) / Clay, Anne Safiya (Committee member) / Barrett, The Honors College (Contributor) / School of Film, Dance and Theatre (Contributor)
Created2013-12
Description
This short documentary on the Equal Rights Amendment features attorney Dianne Post and State Representative Jennifer Jermaine, and it examines the fight for passage at the federal and state level. This film attempts to answer the following questions: What is the ERA? What is its history? Why do we need it? How do we get it into the Constitution of the United States of America?
The text of the Equal Rights Amendment (ERA) states that “equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.” The amendment was authored by Alice Paul and was first introduced into Congress in 1923. The ERA did not make much progress until 1970, when Representative Martha Griffiths from Michigan filed a discharge petition demanding that the ERA move out of the judiciary committee to be heard by the full United States House of Representatives. The House passed it and it went on to the Senate, where it was approved and sent to the states for ratification. By 1977, 35 states had voted to ratify the ERA, but it did not reach the 38 states-threshold required for ratification before the 1982 deadline set by Congress. More recently, Nevada ratified the ERA in March 2017, and Illinois followed suit in May 2018. On January 27th, 2020, Virginia finalized its ratification, making it the 38th state to ratify the Equal Rights Amendment.
Supporters of the ERA argue that we have reached the required goal of approval by 38 states. However, opponents may have at least two legal arguments to challenge this claim by ERA advocates. First, the deadline to ratify was 1982. Second, five states have voted to rescind their ratification since their initial approval. These political and legal challenges must be addressed and resolved before the ERA can be considered part of the United States Constitution. Nevertheless, ERA advocates continue to pursue certification. There are complicated questions to untangle here, to be sure, but by listening to a variety of perspectives and critically examining the historical and legal context, it may be possible to find some answers. Indeed, Arizona, which has yet to ratify the ERA, could play a vital role in the on-going fight for the ERA.
The text of the Equal Rights Amendment (ERA) states that “equality of rights under the law shall not be denied or abridged by the United States or by any state on account of sex.” The amendment was authored by Alice Paul and was first introduced into Congress in 1923. The ERA did not make much progress until 1970, when Representative Martha Griffiths from Michigan filed a discharge petition demanding that the ERA move out of the judiciary committee to be heard by the full United States House of Representatives. The House passed it and it went on to the Senate, where it was approved and sent to the states for ratification. By 1977, 35 states had voted to ratify the ERA, but it did not reach the 38 states-threshold required for ratification before the 1982 deadline set by Congress. More recently, Nevada ratified the ERA in March 2017, and Illinois followed suit in May 2018. On January 27th, 2020, Virginia finalized its ratification, making it the 38th state to ratify the Equal Rights Amendment.
Supporters of the ERA argue that we have reached the required goal of approval by 38 states. However, opponents may have at least two legal arguments to challenge this claim by ERA advocates. First, the deadline to ratify was 1982. Second, five states have voted to rescind their ratification since their initial approval. These political and legal challenges must be addressed and resolved before the ERA can be considered part of the United States Constitution. Nevertheless, ERA advocates continue to pursue certification. There are complicated questions to untangle here, to be sure, but by listening to a variety of perspectives and critically examining the historical and legal context, it may be possible to find some answers. Indeed, Arizona, which has yet to ratify the ERA, could play a vital role in the on-going fight for the ERA.
ContributorsSchroder, Jude Alexander (Author) / Adelman, Madelaine (Thesis director) / Mitchell, Kathryn (Committee member) / School of Politics and Global Studies (Contributor, Contributor, Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
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