Matching Items (67)
Description
Fringe: Abstract Fringe is a feature length screenplay and a work of original science fiction. The story takes place in the future, on a planet far from Earth but it is told from the human perspective and is meant to draw into question many issues present in society today: prejudice, hatred, multiculturalism, war, and social division. The screenplay seeks to pose an allegorical relationship between the humanity living on the planet, and the enemies they face, and the present day conflict between America and the Middle East or ISIS. The story follows Miles as he is forced to ally with his sworn enemy, the Lue, and learn to fight together to save his world from destruction. Miles begins the film bitter, resentful, and filled with prejudice towards his foes, much like a majority of Americans today. Instead of focussing on that conflict though, my story unites these two bitter enemies and asks them to put aside their violent and hateful pasts to fight a new, more powerful foe together. As the events unfold my characters learn that their enemies can be just like them and that they have something valuable to offer their world. My screenplay is about finding commonality with the enemy, on both sides of a conflict. By the end of my tale, Miles learns that there is good to be found in the world, even in his sworn enemies, if he looks close enough. It may seem like an archetypal plot on the surface but I worked hard to create a world that has not been seen in film before, an original science fiction universe that can bring these issues into the light and entertain an audience while doing so. I feel that my screenplay does just that, offering entertainment with and edge of social commentary, and stays true to the science fiction form.
ContributorsTrcic, Colton Walker (Author) / Maday, Gregory (Thesis director) / Bernstein, Gregory (Committee member) / WPC Graduate Programs (Contributor) / W. P. Carey School of Business (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
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
Drawing on existing scholarship as well as primary analytical materials, the research within this report demonstrates Wile E. Coyote's character is reliant on human connectivity and is evocative of the human condition, reflecting his disciplined and stylized design he possesses. Comprised of literary, film/media, and rhetorical elements, this report illustrates how Wile E. is an individual whose character holds various influences that provide dimensionality to his existence. The research within this report is both primary and secondary through observational recordings about the cartoons Wile E. appears in and through thorough analysis of texts elaborating on the elements comprising Wile E.'s character. Primary research from the initial observational recordings provides direction for the secondary research after viewing multiple cartoons and films containing Wile E. Coyote in his Warner Brothers Studios appearances and noting unique moments in his cinematic career. The notes from this viewing of Wile E. in his natural "habitat" drive the secondary research to focus on specific aspects of Wile E.'s character through the analysis of supporting texts which ultimately leads to the findings within this report. Research in the fields of literature, film/media studies, and rhetoric shape the analysis of Wile E.'s character as this report studies the various components compiled within the cartoon coyote. As a multifaceted individual, Wile E. illustrates a complexity within a stylized character that allows viewers to connect to his plights and to identify with his struggles. Through his emulative form, Wile E. embodies vital elements of character creation that allow him to become a memorable and prominent character that resonates in viewers and artists. From Wile E. Coyote's example, future generations of story tellers, regardless of their medium, can learn how to create similarly iconic and timeless characters within their works. Such stories can then contribute significant additions to popular narrative and characterization.
ContributorsGarza, Christopher Aaron (Author) / Baldini, Cajsa (Thesis director) / Mack, Robert (Committee member) / Sandler, Kevin (Committee member) / Department of English (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
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 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
Description
My creative project is a feature-length screenplay called Welles. It follows Orson Welles' struggle to get Citizen Kane exhibited .The overarching idea that I wanted to explore within this project is the blatantly self-destructive nature that Welles exhibited in his personal life, all in an attempt to reach his creative/professional goals.
ContributorsDomecq, Tyler (Author) / Bernstein, Gregory (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
My thesis is comprised of three components: the first is the short film, “State of Grace.” The second is a Project Portfolio of my films produced from May 2016 – April 2017; this document includes concept notes for each project, visual inspirations, shot lists, storyboards, and budget breakdowns. The individual video URLs are included at the end of the portfolio. The third component is a video showcasing each of those projects in a demo reel.
The short film, “State of Grace,” is about a woman who reminisces about a past relationship on a night drive. The memories of this relationship compel her to show up at his door. The title, “State of Grace,” is a reference to the character’s emotional state. She is unable to move forward with a new relationship because she is still in love with her ex-boyfriend; however, her ex-boyfriend has moved on and she cannot reclaim that love. The title also refers to the struggle of reconciling love with heartbreak. The film is predominantly silent, accompanied by a piano driven score that reflects the character’s state of mind. The project is highly imagistic, intercutting between happy memories of the couple and the woman driving alone. The piece ends with the character at her ex-boyfriend’s door, intending to tell him she’s still in love with him. She changes her mind when she realizes he isn’t alone. The production influences are described in greater detail in the Project Portfolio.
“ACT1” is the brand I’ve assigned to my films. The Project Portfolio includes concept notes for each of the seven projects I’ve produced, directed, and edited in the past year (May 2016 – April 2017). In addition to a written description of the creative influences on the project, I’ve included my visual inspirations for each piece. All of the films are silent, feature slow motion photography, and are accompanied by original music. The visual expression of emotion inspires most of my work, along with connections in human relationships. Overall, my films have a cinematic, surreal aesthetic, experimenting with ethereal lighting and high frame rates. The shot lists and storyboards are included for most of the projects, along with an itemized budget breakdown. Since I’m most inspired by imagery, my shooting style is improvisational—none of my films have formal screenplays. Intercutting and jump cuts are frequent editing techniques in my projects, including the demo reel.
I edited the reel, connecting the different projects via match cuts whenever possible. The match cuts are on similar composition, content, or camera motion. The music is original and synth-heavy. The title animation features parallax overlays and lens flares to reference the surreal aesthetics in my films.
The short film, “State of Grace,” is about a woman who reminisces about a past relationship on a night drive. The memories of this relationship compel her to show up at his door. The title, “State of Grace,” is a reference to the character’s emotional state. She is unable to move forward with a new relationship because she is still in love with her ex-boyfriend; however, her ex-boyfriend has moved on and she cannot reclaim that love. The title also refers to the struggle of reconciling love with heartbreak. The film is predominantly silent, accompanied by a piano driven score that reflects the character’s state of mind. The project is highly imagistic, intercutting between happy memories of the couple and the woman driving alone. The piece ends with the character at her ex-boyfriend’s door, intending to tell him she’s still in love with him. She changes her mind when she realizes he isn’t alone. The production influences are described in greater detail in the Project Portfolio.
“ACT1” is the brand I’ve assigned to my films. The Project Portfolio includes concept notes for each of the seven projects I’ve produced, directed, and edited in the past year (May 2016 – April 2017). In addition to a written description of the creative influences on the project, I’ve included my visual inspirations for each piece. All of the films are silent, feature slow motion photography, and are accompanied by original music. The visual expression of emotion inspires most of my work, along with connections in human relationships. Overall, my films have a cinematic, surreal aesthetic, experimenting with ethereal lighting and high frame rates. The shot lists and storyboards are included for most of the projects, along with an itemized budget breakdown. Since I’m most inspired by imagery, my shooting style is improvisational—none of my films have formal screenplays. Intercutting and jump cuts are frequent editing techniques in my projects, including the demo reel.
I edited the reel, connecting the different projects via match cuts whenever possible. The match cuts are on similar composition, content, or camera motion. The music is original and synth-heavy. The title animation features parallax overlays and lens flares to reference the surreal aesthetics in my films.
ContributorsTufts, Amber Christine (Author) / Bernstein, Gregory (Thesis director) / Maday, Gregory (Committee member) / School of Film, Dance and Theatre (Contributor) / Department of Marketing (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
Playable female characters in video games have become increasingly more acceptable in the mind of the average gamer. Video games like the Mass Effect series allow gamers to choose to play as either male or female. Despite the industry's data showing that the male character is more likely to be played, vocal fans of the game will often argue that the female character is more desirable depending on the experience that the player is wanting. It is this inconsistency between the gaming industry's data on gender choice and the fans that go against this data that leads to the present research. This research explores why men play female characters in video games. Previous literature found that avatar choices matter to gamers, both for how they are viewed and how they experience the game. This literature suggests that gamers make character decisions based on the desired gaming experience. Data for the current study consists of comments from five Reddit posts and from supplementary surveys completed by volunteers from Reddit. Four main categories that encompassed the numerous results are identified: in-game advantages, player-character interactions, exploration of new experiences and/or identities, and novelty. Each category also features a number of subcategories that were identified first and then combined to make the final four categories. The results found supported previous literature as well as expanded the literature to offer more insight behind why male gamers choose to play as female characters. This choice is ultimately reliant upon varied factors on which they base their choices for the desired gaming experience.
ContributorsBunch, Sarah Elizabeth (Author) / Mack, Robert (Thesis director) / Ingram-Waters, Mary (Committee member) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This paper discusses the parameters of my creative project, which utilizes a staged reading of scenes from John Cariani’s Almost, Maine as a means of investigating the representation of queer individuals and relationships in theatre, film, and television. The first section provides background information on Almost, Maine itself, while the second section explains the details of the project and what to expect on the day of my defense. The next section explains my purpose in developing a project centralized around queer representation, and the last two sections are personal reflections of the both my growth throughout the creative process, and the final product: the performance and talkback.
ContributorsThompson, Savannah Blake (Author) / Maday, Gregory (Thesis director) / Rohd, Michael (Committee member) / Dean, Herberger Institute for Design and the Arts (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
American society reflects a never-ending cycle of sociopolitical anxiety; as one source of anxiety disappears, another materializes. One of the most prominent and relevant examples of a sociopolitical anxiety currently plaguing the United States is our government, especially the president. Donald Trump, a successful businessman with no political background who is infamous for his crass, rude demeanor, is currently in charge of the United States. At the Women’s March in Washington on January 21, 2018, a protestor held up a sign reading “This episode of Black Mirror sucks” in response to President Trump’s election into office. Women, especially, have felt so threatened by Trump’s presence that they have made comparisons between the current political reality and the depressing dystopias illustrated in Netflix’s series Black Mirror. Such comparisons speak volumes about the current state of our country, suggesting that our future is likely to devolve into one similar to the exaggerated and decidedly dark futures portrayed in the series.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
In order to evaluate this sentiment, this thesis will explore the representation of various modern social anxieties as presented in five different episodes of Black Mirror: “Fifteen Million Merits,” “White Bear,” “Nosedive,” “Men Against Fire,” and “Hang the DJ.” The essay begins with a brief introduction to the series and background information that explores the modern relationship between technology and some of the anxieties it raises. Following this contextualization, I will present a definitional section that outlines the various concepts that are relevant to dystopias and the ones depicted in Black Mirror specifically. The next segment discusses the more specific evolution of technology within dystopias. I will analyze nondiegetic and extratextual material related to the series, such as the Black Mirror theme music and the posters used to advertise the series. This section will also include some background information about the show, including its structure and the intentions of the creator as expressed in interviews. The main portion of the thesis will use the aforementioned episodes to demonstrate the various threats that technology presents to the individual, such as commodification, an illusion of agency, emotional and mental deterioration, and obtaining pleasure from violence. The paper also discusses the threats that technology poses to society including brainwashing, a lack of authenticity in social interactions, the presence of monotony, and dehumanization. Finally, a concluding section will explain how the series Black Mirror represents prominent modern social anxieties and conveys why contemporary users of technology should fear it.
ContributorsRamesh, Bhavna (Author) / Miller, April (Thesis director) / Mack, Robert (Committee member) / School of Sustainability (Contributor) / Harrington Bioengineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
BETTA, a narrative music video short film was produced by Kaitlyn Baucke and directed by June Hucko, and written by both filmmakers. By employing the knowledge and experiences gained in their academic careers, they were able to create a compelling yet experimental film that challenges the idea of whether or not people are simply compilations of their memories, and experiences. Sparked by an interest in music media, this project is in the visual style of a music video, but with a 10-minute narrative. This film lightheartedly tells the story of a young woman whose most cherished memories are always accompanied by a meal of tacos. Each memory is memorialized through the collection and personalization of receipts from the taco shop. After collecting hundreds and hundreds of these receipts, she reaches a turning point in her life where she finds herself overrun by her past memories, both positive and negative. She is faced with a decision in which she must choose to dwell in her past, or leave behind memories in order to move forward. The film is scored entirely by original songs of local, ASU affiliated musicians and bands. Producing this film required an extensive pre-production phase of writing, revisions, casting, securing crew, locations, equipment, funding, scheduling, and more. Setting deadlines, sticking to budget, and ensuring smooth production was key to success. From inception, to pre-production, to reflection, this project has allowed the filmmakers to experience evolution, challenges, failures, and immense creative development.
ContributorsBaucke, Kaitlyn (Co-author) / Hucko, Jennifer (June) (Co-author) / Maday, Gregory (Thesis director) / Klucsarits, Philip (Committee member) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12