In this thesis paper, I will detail the making of Camp Shakespeare For Young Performing Artists, my final graduate short film at the University of New Orleans, from its inception as a script to its final form as a finished short film. In Part One I will examine the personal and cultural influences that led me to develop the script. Part Two will review the pre-production process – how my collaborators and I prepared for the shoot. In Part Three I will scrutinize the day-to-day process of filming. Part Four will chart the post-production process in which the film took its final shape. Finally, I will conclude with an analysis of whether the film met the goals I set for it along with my own successes and failures as a filmmaker and leader of a creative team.

The contents of this paper will detail the making of my film Into the Green, a University of New Orleans thesis film. I will examine the processes used to create my film in five parts. Part One will cover the various inspirations and influences that I pulled from to create the story. Part Two will cover the entirety of pre-production and will begin to detail the various collaborators who worked along with me. In Part Three I will discuss the shooting process in Arkansas and in Part Four I will cover the film’s journey through post-production. Finally, in Part Five, I will analyze my filmmaking experience and discuss future plans for Into the Green.

This study researches the relationship between institutional racism and systemic supervision, highlighting the concept of the Other and how it is created as result of social racism. The project’s goal is to produce a dystopian live-action short film. To expose the danger of misusing technological advances to achieve propaganda set to ensure control over the public. And to closely look into the mentalities and perspectives of the public considering institutional racism.   This project represents the powerful impact of society's issues on the future by filming in the dystopian genre. The project goes through all aspects of scene making and filmmaking as a visual communication technique.   The research shows how deeply the established media is connected to social racism and Othering. As governments, institutions, and corporations are constantly in need to create targets for the viewer/public to fear, making the world seem like it is Us vs Them. Ending with a loop of hate and injustice that keeps spiralling downwards.

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The purpose of this essay is to study the film culture in South Africa in a national cinema-context, focusing on the relationship between anti-apartheid film from 1974-1994 and the film in South Africa today. By pitching the South Africa-specific works of Lucia Saks and Jacqueline Maingard against the over-arching debate on national cinema as formulated by, amongst others, Stephen Crofts and Andrew Higson, this study aims to find whether or not a specific South African national cinema have existed, and exists today, or not. The study finds that an underground culture of documentaries and short films made by and for the black population has been in place since the apartheid, and the distribution method on video and television is still being used to reach the black population today. By re-examining the concepts of both the national, and of national cinema to also include film on video and television, the study shows that South Africa has indeed a film culture that can be called a national cinema.

The aim of this study was to explore language censorship in Zimbabwean films in Shona and English. The study concentrated on the themes of politics, culture and economic in the genre of the documentary, feature and short film genres. It was demonstrated that the Zimbabwean laws enabled authorities to impose censorship strategies that ranged from banning, restriction, persecution of filmmakers, withdrawal of films from circulation, and threats of withdrawal of permits of film retailers. These visible, direct and banal forms of censorship have forced some filmmakers to flee the country. Most of the filmmakers who have remained in the country have been forced to deal with themes that appear harmless to the state. This state induced form of self-censorship on the filmmakers has resulted in the production of uncritical, and unreflective films whose staple diet were embedded in cultural stereotypes. The study argued that language is a signifying practice that cannot be interpreted in a single direction. Thus, despite these realities of film censorship some filmmakers deliberately encoded or used verbal and visual film language that generated surplus meanings with which the films could be re-read in ways that reveal new linguistic strategies to evade and challenge both the restrictive censorship laws as well as criticise the undemocratic political culture that has taken root in Zimbabwe. The study used eclectic theories such as Marxism, audience-reception approach, critical legal theories and language theories to analyse the films. The explanatory capacity of these theories helped to reveal the contradictory ways in which the desire to impose restrictions on film meanings was constantly undermined in the innovative language of the films. / African Languages / D. Litt. et Phil. (African Languages)

The following report describes the pre-production, production, and post-production of the short film, 8.BIT.BROS, designed from its inception to fully exploit the years-developed, cumulative and varied skills of its director. The fantastical narrative focuses on the strained emotional dynamic between two adult brothers that have yet to come to terms with having witnessed their father’s death as children. Their trauma is dramatized and encapsulated in the videogame-themed psychotic hallucinations of the film’s protagonist. The director’s specialized skill-set was put to practical use in both the creation of animatronic creature effect, “Commander Gorgo,” and during the post-production phase of the film, wherein green screen compositing, animation, and motion graphics were used at length to bring the narrative life. / text

對於社工,一般大眾的瞭解不深,常伴隨著「做好事」、「幫助窮人」、「有愛 心」等刻板印象;或是負面的「拆散家庭」、「多管閒事」、「官僚」;甚至有許多 人以為社工就是志工,是不支薪而樂於付出的一群。創作者自幼長期接觸社工與 其工作環境,盼透過影像創作方式,呈現台灣社工所面臨的某些現實。 《標準量表》從一兒虐案出發,以類紀錄片的方式帶出相關人事物,討論案 中每個角色所面臨的困難與心理衝擊,以及案發後所有人如何適應、回歸、繼續 生活。特別將視角集中在負責本案的基層社工,以她為敘事中心,講述一個社工 與家暴家庭的互動故事,呈現社工在個案服務工作中的心情轉折,讓觀眾有機會 認識這些心理負擔與壓力。並期待透過本片,建構一個兩難的世界,畢竟真實社 會中的習題,往往不是結束在一個定點,而是事情發生後,人們怎麼繼續走下去。 / We don’t know much about social workers, who sometimes been thought of “doing things good”, “helping the poor”, “kind and compassionate”; or accompanied with some negative thought, “destroy families”, “make uncalled-for meddling”, and “officialdom”. Even some people think social workers are volunteers, who are happy and willing to help people without salary. The writer of this story has contacted with social workers since she was a child and tries to show some reality of them by visual productions. Standard Scale of Humanity is a story of a basic level social worker and a child-abused family, and produced by skills of mockumentary. The film lets every character in the case talks about her stories, feelings, and how to back to the normal life after the tragedy, so the audiences have chances to know more about the pressure, load, and difficulties of social workers and offenders. Moreover, the production hopes to create a situation of dilemma, because things not always stop at a particular point in the real world, after all, it is more important to know how to live after something bad happened.

《罪羊人》是一部獨立集資並用高畫質數位單眼反射相機 （HD-DSLR）所攝製而成的原創劇情短片，從發想編寫到後製完成共歷經了一年多的時間，內容取材自創作者二十多年的生命經驗，將人生中的喜好、痛苦、感動、疑惑給整理融合並壓縮提煉出來，主題是關於罪惡、宗教和寬恕，故事敘述一名因醫療疏失而入獄服刑的救護車司機，出獄後依然擺脫不了罪惡感，進而陷入信仰混亂的洗罪過程，在經過一連串的掙扎，最後仍舊無法逃離循環的枷鎖，人與神似乎都不是罪惡難題的完美解答。 在文獻探討部分，本片因借用義大利西部片的老電影片段來當作情感連結和隱喻，於是回顧了互文理論和電影類型，另一方面本片也觸及了心理學、哲學和宗教儀式的主題，所以在負罪感以及猶太新年贖罪期也有所著墨，並列舉了三部相關電影長片作品來作評析比較，分別是韓國李滄東導演的《密陽》、德國法提阿金導演的《天堂邊緣》和墨西哥阿利安卓崗札雷伊納利圖導演的《靈魂的重量》。在作品呈現部分，分別從敘事、類型、選角、場勘、美術、服裝、表演、攝影、燈光、剪輯、配樂、聲音，將每個環節重點敘述和分析一次，包含思維想法、製作過程等等皆會融合納入不同段落，以期忠實呈現創作者的心靈。 / The Teshuvah is an independently-funded original narrative short film, which is shot by HD-DSLR camera. The creator taps into his real-life experience over the past 20 years and more, aggregating and distilling all the love, fondness, pain, affections and confusions, with its theme is set on sin, religions and forgiveness. The story tells an ambulance driver, who serves for his sentence in prison as he was convicted of medical negligence, haunted by his feeling of guilt after he came out of prison. He eventually becomes trapped by a chaos of seeking redemption from religious belief. After all his struggling, he still cannot escape from the shackle of life`s circulation, and it seems that either human or God(s) could provide a perfect answer to the riddle of crime. As for Literature Review, Intertextuality and movie genres are covered since the film has borrowed from old spaghetti-western movie clips to function as a metaphor of affections bound, while other topics like psychology, philosophy, and religious rituals are also referred to; hence, the feeling of guilt and Jewish Ten Days of Penitence are also depicted. Three other relevant feature films are listed herein to serve the purpose of critical analysis and comparison. They are Secret Sunshine by South Korean director Lee Chang-Tung, The Edge of Heaven by German director Fatih Akin, and 21 Grams by Mexican director Alejandro González Iñárritu. In the respect of presentations of film works, this thesis goes through every essential phase, outlines and provides analysis on narration, genres, casting, location hunting, arts, costumes, acting, shooting, lighting, editting, original music, and sounds. It also indicates that mindsets, production process and so on are also incorporated into different chapters of a film to faithfully represent its creators mind.

Mitt examensarbete bestod av både en gestaltande och en skriftlig del. Mitt arbete handlade om att göra en animerad kortfilm. Under 10 veckor animerade jag en film som kom att heta The Comet. En film om längtan, saknad och känslan av ensamhet. Till detta skrev jag också en rapport där jag redogjorde min process, inspiration, referenser, resultat och tankar kring min utställning i samband med arbetet. / My degree project consisted of both a creative and a written part. My work was about making an animated short film. For 10 weeks, I animated a movie called The Comet. A film about longing, missing and the feeling of loneliness. In addition, I also wrote a report describing my process, inspiration, references, results and thoughts about my exhibition in connection with the work.