Matching Items (12)
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- All Subjects: Film
- Creators: Scott, Jason
- Creators: Benkert, Volker
- Status: Published
Description
My study centers on the novel Katakiuchi Kidan Jiraiya Monogatari (1806-1807) by Kanwatei Onitake (1760-1818). Jiraiya Monogatari was the first literary reading book to be adapted for the kabuki stage. It was also the prototype on which Mizugaki Egao, Kawatake Mokuami, Makino Shouzou; and others based their bound picture books, kabuki, and films. The tale is composed of two revenge incidents, both of which have the same structural framework and are didactic in tone. In my study, I analyze the two revenge incidents by examining their narrative structures. Each incident has the same three-act structure: setup, confrontation, and resolution. The setup of each revenge incident introduces the main characters and their relationships and establishes the dramatic vehicle, which is an unexpected incident that sets the revenge in motion. The confrontation contains myriad non-linear inserts, plot twists, and reversals of fortune, all of which have the effect of a narrative delay. This prolongation of the outcome of a simple revenge plot allows readers the necessary space in which they can form their own judgments regarding good and evil and consider karmic cause and effect. The resolution, including the climax as well as the ending of the revenge, demonstrates the didactic notion of punishing evil and karmic effect. The two revenge incidents embody two rules, kanzen chouaku and inga, which together highlight the didacticism of Jiraiya monogatari.
ContributorsZhang, Jin (Author) / Creamer, John (Thesis advisor) / West, Stephen (Committee member) / Chambers, Anthony (Committee member) / Arizona State University (Publisher)
Created2012
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
This paper aims to investigate how the portrayal of the crusaders in twentieth and twenty-first century film has evolved and how they have become tools in serving contemporary goals, including those of individual filmmakers and broad societal ideologies. Through the analysis of five films, in both narrative and cinematography, spanning from the 1950s until 2011, themes of redemption, maturity, and the dichotomy of "good" and "bad" are discussed, as well as their chronological evolution in regards to the crusading hero. These films, widely ranging in historical subject matter and country of origin, show a greater range of evolution for the holy war hero and the important themes widely associated with them.
ContributorsBowman, Taylor Nicole (Author) / Benkert, Volker (Thesis director) / Bruhn, Karen (Committee member) / Miller, April (Committee member) / Barrett, The Honors College (Contributor) / School of Historical, Philosophical and Religious Studies (Contributor)
Created2015-05
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
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
"Drama Drama" is an original story idea that I hope to one day develop into a full-length screenplay. For my honors creative project, I wanted to conduct the planning process of writing a full-length screenplay and start to work through the fundamental story problems, character motivations and the story itself. Loosely based off experiences in my own high school theatre troupe, "Drama Drama" tells the story of Josh Simpson, a diehard Thespian, whose only goal is to graduate and go to a New York acting conservatory. Josh counts on nabbing the lead in the school's spring play, using it to spruce up his resume and seal his admittance, however he loses out to Spencer, a first-year actor and otherwise dumb jock. Inspired by campy off-Broadway musical "Ruthless!," Josh accepts a role as stage manager and tries to get to Spencer to drop out. Sabotage doesn't come so easy, however, and in trying to ruin the show, he's forced to confront his future, his friendships and the kind of person he wants to be.
ContributorsMlnarik, Carson Joseph (Author) / Bernstein, Gregory (Thesis director) / Scott, Jason (Committee member) / School of Film, Dance and Theatre (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
In the Film and Media industries, it seems like it is completely male dominated both on and off the screen. With movements like Me Too and See Her it is important now, more than ever to make a change in the film industry. These movements have been great sparks to create changes in the field which lead to having more representation of women both on and off the screen and in film, tv and media. In my personal experience, when you are a woman on a film set it feels like you can get incredibly overshadowed or if you try to stand up for an idea you could be called bossy. A female mindset on a set, in major positions, seems like it can only be a good thing. Whether that is true or not there have been so few experiences and records of how an all-female set is ran. There is lot of fear that goes into running a set. Many women feel like they cannot handle the environment of a film set because of a certain stigma and stereotype of women in powerful positions. Women, while not always true, can be more understanding when difficult circumstances arise. The gender bias for larger film crews is almost 75 % male, this is a statistic that needs to change soon. It is important to teach the new generation that women in powerful creative roles in film is a normal occurrence and the only way we can get there is being more conscious about who is on our sets.
ContributorsSmith, Mallory Keller (Author) / Scott, Jason (Thesis director) / Lunde, Julia (Committee member) / School of Film, Dance and Theatre (Contributor) / Dean, W.P. Carey School of Business (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
Description
My creative project was the (aptly named) "Sketch Show," short series of sketches presented in order without greater context or structure. I challenged myself to push the limits of my creativity and be involved in every aspect of the production. I wrote, directed, shot, edited, acted, scored, and color graded 3 sketches. I chose sketch comedy as my genre of focus because it is one that I have loved my whole life, and wanted to try my hand at. My research process was expansive, as I studied many of the great sketch shows and tried to learn what makes them successful. I next wrote many sketches, and they were almost uniformly terrible. My rewrite and selection phase was very difficult as I struggled to identify which of my sketches were working best, and I still question the decisions I made. Regardless, the shooting process began and I continued to push myself through cinematography and especially acting, something I have the least experience in by far. I had acted in theatre in high school, but I quickly learned this was completely different and struggled to give myself the performance I had in my head. Finally in the edit, where I am most comfortable, I pushed myself one step further to score the project, something I had never done before. "Sketch Show" may not have turned out to be the project I intended, but it taught me more about writing and myself than any project ever has.
ContributorsRagatz, Caleb (Author) / Scott, Jason (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2017-12
DescriptionAn artistic film about a girl piecing together memories in search of meaning and hope.
ContributorsFarina, Chiara Rosa (Author) / Chiara, Farina (Thesis director) / Janaki, Cedanna (Committee member) / Scott, Jason (Committee member) / Department of English (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2015-12
Description
When the Warsaw Ghetto was demolished by German forces towards the end of World War II, there were few physical traces of the Ghetto left standing. As such, both historians and the public must look to other types of sources to understand what life and death were like for the inhabitants of the Ghetto, and how they have remembered their experiences within the Ghetto. These memories and representations of the Warsaw Ghetto can be found in memoir-style written works, and later, in films based on these works. This thesis will examine the ways in which the Warsaw Ghetto was represented by two authors who survived it, Władisław Szpilman and Marcel Reich-Ranicki, and how their memory of the Warsaw Ghetto is represented in the films based on their lives and survival, The Pianist, and Mein Leben: Marcel Reich-Ranicki.
ContributorsSmith, Erin Lianne (Author) / Benkert, Volker (Thesis advisor) / Cichopek-Gajraj, Anna (Committee member) / Gilfillan, Daniel (Committee member) / Arizona State University (Publisher)
Created2020