Matching Items (7)
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- All Subjects: Film
- Creators: Department of Management and Entrepreneurship
- 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
As the Hispanic community is expanding, television networks need to find or create content that can be distributed successfully in Latin America and the United States. To discover what can be sold internationally, this study is divided into three parts: Content, Sale and Distribution. In Section II (Content), what is selling in both the United States and Latin America was analyzed. Since telenovelas have been the most popular form of television entertainment in Latin America, telenovelas from the 80s to the present were investigated. Telemundo (owned by NBC) and Univision (owned by Univision Communications and Televisa Entertainment from Mexico) are the two most established networks broadcasting in Spanish in the US. Factors in Telemundo's ratings success were studied to determine whether "series" in Spanish were becoming the new form of telenovelas. Produced format sells for telenovelas in Spanish that derive from television shows in English were analyzed based on their content and success. English television shows that derive from telenovelas in Spanish were evaluated based on their reception by the Hispanic community in the US. In Section III (What to Sell?), suggestions on a new content are made based on the previous analysis. Section IV (Distribution) examines the rise of internet streaming services such as Netflix. This section comments on whether networks should distribute their content in streaming services vs. traditional network outlets.
ContributorsMonserrate, Angelica Krystal (Author) / Maday, Gregory (Thesis director) / Giner, Oscar (Committee member) / Bernstein, Gregory (Committee member) / School of Social Transformation (Contributor) / Thunderbird School of Global Management (Contributor) / Department of Management and Entrepreneurship (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The motion picture and television industry is more than just lights, camera, and action. This $2 trillion dollar industry would not be able to function without the business behind the camera. Everything from content distribution, media sales, marketing, accounting, and finance goes into the creation and success of a television show and movie. At Arizona State University, there are currently not enough resources for students pursuing the business behind the motion picture and television industry. With in-depth knowledge and research of the industry, we will provide background on the industry as a whole and then a structured business degree that will be integrated within the W. P. Carey school of business.
ContributorsJenq, Natalie (Author) / Daniels, Tessa (Co-author) / Ostrom, Amy (Thesis director) / Blum, Nita (Committee member) / Barrett, The Honors College (Contributor) / The Sidney Poitier New American Film School (Contributor) / Department of Information Systems (Contributor) / Department of Management and Entrepreneurship (Contributor) / Department of Marketing (Contributor)
Created2023-05
Description
Executive Summary: Luke Armistead and his crew are seeking investments in the form of cash or assets (i.e. shooting location, drivable car, film equipment, etc.) in order to make “Red Fox Does Not Move”, a short action-thriller. “Red Fox Does Not Move” tells the story of two government agents seeking revenge against Domino Mancini, a violent mob boss. This short film is meant to target U.S. adults, especially those who use YouTube. The action-thriller genre is popular in the U.S. among adults, and since an overwhelming majority of adults use YouTube, the video hosting website is a good place to distribute the film after the private showings. In order to build anticipation for the film, a vlog series detailing production of the short film will be produced in tandem with the film. “Red Fox Does Not Move” is planned to be distributed via film festival (e.g. Sundance, Cannes, AFA, etc.) as well as select local theaters holding local short film showings/mini festivals.
ContributorsArmistead, Luke M (Author) / Melby, Amanda (Thesis director) / Fortunado, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Management and Entrepreneurship (Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
There exists a prejudicial influence in the way that psychological thrillers depict their mentally-ill subjects. Accordingly, this creative project closely examines scenes from the following four seminal films: Psycho, Taxi Driver, American Psycho, and Joker -- each of which exemplifies four psychosocial themes that have a dominant presence within the ‘psycho-thriller’ sub-genre. These include themes of toxic masculinity, urban corruption, social class, and latent trauma. Each of these are then discussed in terms of their presence and meaning within the genre -- particularly the method in which they reinforce prejudicial understandings of severe mental illness (SMI) despite reflecting the dominant beliefs of medico-scientific communities, criminological theorists, and psychoanalytic schools of thought of the eras in which they were released. Given that these theories continue to inform the public’s understanding of severe mental illness (SMI), this thesis seeks to expose how the enduring presence of these psychosocial themes within the ‘psycho-thriller’ subgenre has conflated the presence of mental illness with criminal disposition. After discussing the representation of these themes in each film, this paper highlights how psychological thrillers may function as instruments of advocacy for mental health in spite of their ‘horrific’ elements, and provides examples of how other entertainment media have helped normalize neurodivergence in a neurotypical society.
ContributorsHernandez, Martin (Author) / Miller, April (Thesis director) / Cavanaugh Toft, Carolyn (Committee member) / Department of Management and Entrepreneurship (Contributor) / School of International Letters and Cultures (Contributor) / Barrett, The Honors College (Contributor)
Created2021-12
Description
The movie industry is an uncertain business, and films often fail to make money, so the movie promotions and marketing decisions studios make are vital in determining success. With movie promotions, people from different cultures can perceive films and their advertising efforts differently because of their backgrounds, so movie marketers must recognize these differences to be able to succeed in international markets. This thesis is intended to help provide information for filmmakers and their respective film advertisers on how different cultures may perceive promotional movie poster factors, and how they can be more successful in their pursuit. Specifically, we are focusing on the influence of stars and review sources featured on such posters and how they might play into someone’s response to a film. To do so, we will be comparing viewers relative to their Hofstede cultural dimensions (of individualism and collectivism and power distance) to understand what factors might influence a society more and why. We first dive into our preliminary research, then make predictions and test them through a 2x2 study to determine what movie promotion elements are most influential to different viewers. Next we will conclude with the managerial implications and limitations and future research of our study. Overall, our research and data findings offer insights to filmmakers on how they might enhance and tailor their movie promotions when marketing to different cultures.
ContributorsGardner, Kyra (Author) / Cheruvu, Niyati (Co-author) / Eaton, Kate (Thesis director) / Palmer, James (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Department of Management and Entrepreneurship (Contributor)
Created2022-05