Final Project (M.A.)--John F. Kennedy University, 2007. / "June 15, 2007"--T.p. Includes bibliographical references (p. 63-67).

Thesis is submitted in partial fulfilment for the degree of Master of Arts (Digital Arts) to the Faculty of Humanities, School of Arts, University of the Witwatersrand, Johannesburg, 2016. / This paper aims to go down into the rabbit-hole, by analysing the narrative experience derived from games and investigate how it functions in conjunction with the gameplay. This analysis will focus in detail on a case study of Ubisoft's 2012 title Far Cry 3 (FC3). FC3 is a sequel to Far Cry (2004), the original title was developed by Crytek, and produced by Ubisoft. The sequels have been Ubisoft Montreal creations. I have selected FarCry3 as it is commercially successful, as of February 2013 it sold over 4, 5 million copies (Phillips, T. "Far Cry sales hit 4.5 million" 2013). It also received various nominations, including an award for its story, during the 9th British Video Game Awards (Reynolds “Bafta Game Awards 2013” 2012). FC3 can, therefore, be viewed as being indicative of what the populist gaming community desires in a game, an indicator of present trends in narrative development in games. For this paper, I intend to use Hendry Jenkins’ narrative model to analyse how FC3 structured. As a result, illuminating how FC3, manages to engage with a cogent narrative, while operating in conjunction with an engaging game mechanic. I intend to present the structures as they exist within the case study's fictional world. In this research report I will argue that FC3 incorporates multiple narrative structures which promote gameplay. I will play the FC3 critically to gain an overall perspective and through the use of in play videos to select key scenes for analysis within my case study. With the knowledge invested, I intend to apply Jenkins’ narrative architecture in my analysis. [No abstract provided. Information taken from introduction]. / MT2017

For thesis abstract select View Thesis Title, Contents and Abstract

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: Robert Morgan. Includes bibliographical references.

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaves [36]-[38]).

Thesis (M.A.(Hons))--University of Wollongong, 2004. / Typescript. Includes bibliographical references: leaf 112-119.

Thesis (M.F.A.)--Rochester Institute of Technology, 1992. / Typescript. Includes bibliographical references (leaf 90).

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 164-177).

This thesis presents and develops an advanced method of self-exploration for artists. The method, which incorporates the process of self-representation, enables a more authentic identification of the psyche of the artist to be created. The objective of the research is to develop a restorative and valid therapeutic process that artists can apply to achieve further authenticity in terms of the work that they conduct. The process that is developed as a product of this research is an advancement of ‘pathography’, a term used by Sigmund Freud in 1910 in the final chapter of Leonardo da Vinci and a Memory of His Childhood, to describe the psychoanalytic study of an artist through the works produced by the artist. The specific method employed in the research involved myself as artist creating a photographic self-portrait, sharing this image with two psychoanalytic psychotherapists, who each then responded with their written analysis of the image. This led to the creation of a series of twenty-four images, informed by the written interpretations provided by the analysts, at approximate intervals of once a month over two years. This method allows the interaction of artist, artworks and analysts to develop dynamically. This collaborative process where the written word is generated from the viewing of visual information, allows patterns or themes relevant to the research to be identified. The research findings contribute to the existing body of knowledge by revisiting of ‘pathography’ and developing a new method within phototherapy, and, in doing so, provide a material progression in the context of the artist as a photographer. Recommendations are also made in respect of the implementation of this new method. Guidance is provided for researchers who wish to further investigate this area, particularly in terms of the research processes that can be adopted. I conclude that making photographic self-portraits in this way can be a restorative and valid therapeutic process.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Art (Digital Art), September 2017 / The aim of the research report is to establish a link between the field/practice of queer theory and the field/practice of animation. I propose that the linking factor between these two bodies of theory and practice is fantasy. the purpose of exploring this link s to understand how formal elements of the animated medium can be used to articulate queer scenarios of desire: [Abbreviated Abstract. Open document to view full version] / XL2018