This paper is an examination of the production of the thesis film The Confessional. Each of the key areas of the production are examined, including the writing, directing, production design, cinematography, editing, sound, and technology. In each of these areas, many choices came together to form the final version of the film. The paper also includes an analysis of the success of these decisions, based on research and audience feedback.

With The Cuddle Club, I intended to make a film that sought to examine intimacy as it relates to the extremes; in the film I subvert expectations of intimacy to make the audience reconsider why we draw our physical boundaries where we do. And while everybody may need a little cuddle every now and then, men have no right to touch women without their express permission. This paper will be an examination of the story behind the story. Of my thoughts on the process of creating my thesis film The Cuddle Club as it pertains to the screenwriting, preproduction, production and postproduction process. There will be a step-by-step analysis of the plot, as well as an introduction explaining how The Cuddle Club came to be. The Appendix will include all of the documents created during the preproduction process.

The Blanket of the Dark is a psychological thriller that explores the horrors of postpartum psychosis, a rare but serious illness a new mother can experience in the days and weeks following the birth of her child. The film is an intimate portrayal of the psychology of a new mother suffering from the hallucinations and delusions that are symptoms of this horrific and oftentimes undiagnosed illness. In the end, motherhood for women with undiagnosed postpartum psychosis is anything but joyful, and can lead to suicide and murder. This paper is a candid analysis, a production report as it were, of the making of my thesis film, The Blanket of the Dark. I will begin with an introduction to how The Blanket of the Dark came to be, and then dive into a detailed plot analysis along with “behind-the-scenes” accounts of my thoughts and experiences on screenwriting, preproduction, production and postproduction process. All documents used during production are included in the appendix. I hope that future filmmakers will read my about my journey and know that, while filmmaking is one of the most challenging experiences anyone can have and questions about their talents and merits may arise, the insecurities and perceived impossibilities are hurdles that any filmmaker can overcome.

This report describes the inspiration, writing, development, pre-production, production, and post-production of the graduate thesis film Pō. / text

The report details the conceptual development, pre-production, production, and post-production stages of making Lost Nights. Lost Nights is a short, narrative film about two brothers who go out for one last night before the younger brother leaves for basic training. The film was produced as my graduate thesis film in the Department of Radio-Television-Film at the University of Texas at Austin. / text

@font-face { font-family: "Calibri"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; } Foster Child is my attempt to bring to light my love for dolls as creatures to be created and imagined again and again. In terms of childhood play, toys function and exist on many levels. Each becomes a friend to some and, in some cases, a confidant. Dolls become more than a plastic play-thing and through the eyes of the individual take on a life of their own based upon the user’s own personal experiences. What I deem my creation will inherently change to someone else’s and even to my mood. I aim to offer the ability to create and blur the lines of these creations. My work is self-explorative and tells of the circumstances from my childhood I hold close.

Exquisite is defined as carefully selected or sought out. I believe myself to be a selected soul placed in a body of circumstance. My work is self-explorative and telling of those circumstances in hopes of evoking empathy. Our bodies function and exist on many different levels. What I understand as normal for most differs vastly from what is normal for me. I aim to offer my perspective on the world, establish understanding, and blur the lines of normalcy.

In-forest teaching is a vital element of forest science education at university level, and university forests play a critical role in this. In Japan, the University of Tokyo (UTokyo) owns the oldest university forest, which was established in 1894. This paper outlines how the University of Tokyo Forests (UTF) provide in-forest education for forest science. The UTF consist of seven branch stations with a total area of over 32,000 ha. Third- and fourth-year undergraduate students majoring in forest science attend field courses in these forests. Same undergraduate and graduate students are affiliated with the UTF, where they conduct field studies for their graduate theses. Since 2005, the UTF have expanded their educational activities by offering university-wide hands-on experience seminars with field experience for first- and second-year undergraduate students, although these courses are open to all students studying at UTokyo.