In recently years, the online short films has become the most popular activity among the netizens of Taiwan. It was due to the improvement of online streaming technology, the increasing of network bandwidth, and the widespread of mobile device. Besides, the video recording and editing equipment have getting cheaper, and also more user-friendly. All these transformations have turned one-way passive audience into two-way positive ¡§Prosumer¡¨. The rising of online short films is the breakthrough of the traditional movie production, which empowered ordinary people to create their own videos. And, YouTube is the most popular ¡§stage¡¨ for amateur videos. Both the ¡§Cathedral style¡¨ videos of specialists and ¡§Bazaar style¡¨ videos of amateurs coexist and prosperous on the video-sharing website. The researcher, as a video amateur, was very curious about the ¡§carnivalization¡¨ of the online short films, and hope to investigate this effect through practice. This research takes the action research as the main research approach, and the content analysis as the supplement. The research process is divided into two stages. At the first stage, researcher analyzed the video content of ¡§YouTube¡¦s most viewed video¡¨ in order to find out what elements do these high click-through rate videos have in common. At the Second stage, the researcher implemented the action research base on the results of previous content analysis. The videos made by the researcher categorize as business-oriented and non-commercial oriented, in order to discover how these online short films constructed the carnivalization of the audience. The findings of this research could summarize into three main points. First, there are four important elements of YouTube¡¦s most viewed videos, which are ¡§music¡¨, ¡§love affair¡¨, ¡§joy¡¨ and ¡§story¡¨. Second, the business-oriented online short films construct the carnivalization of audience by ¡§culture identity¡¨, ¡§anti-normal performance¡¨, and ¡§sex appeal¡¨. Third, the non-commercial oriented online short films construct the carnivalization of audience by ¡§phonetic difference" game, ¡§nationalism¡¨, and ¡§cussing¡¨. Both of the carnival factors can be used in business-oriented or non-commercial oriented films, but the operating skills and strategy are quite different.

The following report describes the pre-production, production, and post-production stages of the short film NIGHT OUT, a film set in the present day in Montreal, Quebec. The story follows a high school kid throughout one evening out on the town. Over the course of the night he meets an older man, Julian, who takes him to a bar where he meets an older woman, Patricia. NIGHT OUT explores the loneliness in urban landscapes, a young person’s relationship with strangers, and the risks and rewards of opening yourself to the world. The majority of this report consists of a first-person account of the entire process of making this project, from its inception to its completion. Supplemental materials include: character descriptions and synopsis, shot list, lined script, storyboards, and a props and costume list. / text

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I det här arbetet studeras Charlie Chaplins berättartekniker, både sagoberättande, visuellt och audiellt i ett försök att komma fram till huruvida de berättartekniker som Chaplin använde sig av fortfarande kan fungera i komiska produktioner idag. Vi kommer i texten titta närmare på hur han använde kameran både när han filmade och klippte, hur han strukturerade upp sina ljudkompositioner, hur han använde kontraster, hur han skrev sina berättelser för att antalet skämt skulle bli just rätt, samt hur han förde sig både framför och bakom kameran för att sedan applicera detta på en kortfilm i vårt skapande. / In this essay we will be looking into the teqniques which Charlie Chaplin used to tell his stories, both when it comes to plot, visual and auditory storytelling, in an attempt to find out if these techniques still would work in a comic film production today. We will take a closer look at how he used the camera while filming and cutting, how he structured his stories to allow for the optimal amount of slapstick gags, how he would make use of different contrasts, how he structured his sound compositions and finally how he would act both in front and behind the camera so we then can apply this on a short film of our making.

This report will summarize the process of writing, developing, directing, and finishing the 35mm short film, Mnemosyne Rising. This film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

Leaves on Trees is a 16-minute narrative film about a young boy who gets prescription glasses for the first time. The following report recounts the process of conception, pre-production, production, and post-production undertaken to produce the film. It discusses the hardships and successes of the project and posits a goal for the future. / text

The report details the development, pre-production, production, and post-production stages of Plus/Minus. Plus/Minus is a short, narrative film about about a young couple examining their relationship as they await the result of a pregnancy test. / text

Work process for the production of the short film ÄLGEN (2019); Technical aspects and thematics. Film synopsis: Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship. A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019

This design project explores the complexity of kroppshets on a sociocultural and individual level. The design research has studied patriarchal and capitalist structures and looked into industries that feed and benefit from women’s body dissatisfaction. It also looks closer at media and its part in maintaining and transmitting the unattainable body ideal created by these structures. Through autoethnographic methods and practise based research this project aims to visualise kroppshets and how it affects women in their everyday life. The project collaborates with a dozen of women that have, through interactive interviews, given a deeper insight of the subjective experience of kroppshets to add to a collective definition. The design research and its finding have resulted in a short film that give a glimpse into what situations kroppshets raise in everyday life and acknowledge women’s struggle to fit within patriarchal beauty standards. Through visualisation the issue is made accessible for a wider audience, raising awareness and making it a catalyst for change that hopefully can result in a more wholesome and sustainable life quality for women.