Matching Items (2)
Description
There is a wide range of steps that go into making any film. Pre-production alone can take up to six months on feature-length films. The labor dedicated to bringing the director's vision to life can take over a year on long form projects. From concept to final cut, the process

There is a wide range of steps that go into making any film. Pre-production alone can take up to six months on feature-length films. The labor dedicated to bringing the director's vision to life can take over a year on long form projects. From concept to final cut, the process is simultaneously abstract and technical, demanding unique contributions from every member of the team. It is the director's job to make a film as entertaining as it can possibly be. This is done through careful planning put into the pre-production which is carried through to on-set production and post-production. The culmination of this hard work is the final film, but the process of making a film from the director's point of view can be seen through an important document known as the director's notebook. In a director's notebook, the creative process is captured through all the steps that go into making a film. The purpose of this creative project is to show the entire process of writing and directing a short film by documenting each step in a director's notebook to be shared alongside the final film, Shutter's Affection. Shutter's Affection is a narrative piece aiming to dissect the thought processes behind a serial killer. In this short, a photographer named Martin lives a blissful perfect life with his girlfriend, but soon finds his relationship with her isn't like it is in the photos he's captured of other couples going through their day to day activities. The director's notebook of Shutter's Affection documents all the steps of the creative process, from conception to shooting script, storyboard, and beyond.
ContributorsBender, Brenton James (Author) / Maday, Gregory (Thesis director) / Fortunato, Joseph (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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Description
My dissertation primarily investigates the vast literary corpus of “Qiantang meng”

錢塘夢 (A dream by Qiantang River, 1499, QTM hereafter), the earliest preserved

specimen of the Chinese vernacular story of the “courtesan” 煙粉 category, which

appears first in the mid-Hongzhi 弘治period (1488-1505). The story treats a Song

scholar Sima You 司馬槱 (?) who traveled

My dissertation primarily investigates the vast literary corpus of “Qiantang meng”

錢塘夢 (A dream by Qiantang River, 1499, QTM hereafter), the earliest preserved

specimen of the Chinese vernacular story of the “courtesan” 煙粉 category, which

appears first in the mid-Hongzhi 弘治period (1488-1505). The story treats a Song

scholar Sima You 司馬槱 (?) who traveled in Qiantang and dreamed of a legendary Su

Xiaoxiao 蘇小小, a well-educated and talented courtesan who supposedly lived during

the Southern Qi 南齊 (479-520). Fundamentally, I am concerned with how and why an

early medieval five-character Chinese poem, questionably attributed to Su Xiaoxiao

herself, developed across the later period of pre-modern Chinese literary history into an

extensive repertoire that retold the romantic stories in a variety of distinctive literary

genres: poems, lyric songs, essays, dramas, ballads, vernacular stories, miscellaneous

notes, biographical sketches, etc. The thematic interest of my research is to evaluate how

travel and dream experiences interactively form a mode whose characteristics could help

develop a clearer understanding of biji 筆記 (miscellaneous notes) as a genre which is

representational and presentational, exhibiting a metadramatic textual pastiche that

collects both fact and fiction. The timeless popularity of QTM storylines reflect and

express the trope of the “travel and dream” experience. This is something of a “living”

complex of elements through which a textual community in later generations can

reconstruct their authorial and cultural identity by encountering, remembering and

reproducing those elements in the form of autobiographical and biographical expression

of a desiring subject. Travel and dream experiences are cross-referenced, internally

dialogical, mutually infiltrating, and even metaphorically interchangeable. They are

intertwined to create a liminal realm of pastiches in which we can better examine how the

literati in the Yuan (1271-1368), Ming (1368-1644) and Qing (1644-1911) dynasties

formed their own views about a past which shapes and is shaped by both collective and

individual memory. Such retellings both construct and challenge our understanding of the

complex networks of lexical and thematic exchange in the colloquial literary landscape

during the late imperial period.
ContributorsWu, Siyuan (Author) / West, Stephen H. (Thesis advisor) / Cutter, Robert Joe (Committee member) / Oh, Young (Committee member) / Ling, Xiaoqiao (Committee member) / Arizona State University (Publisher)
Created2017