Thesis (MCS)--AUT University, 2009. / Includes bibliographical references. Also held in print (xxiv, 100 leaves ; 30 cm.) in the Archive at the City Campus (T 808.823 HON)

Thesis (M.A.)--University of Waikato, 2006. / Includes bibliographical references (leaves 177-179) Filmography (leaves 180-182) Also available via the World Wide Web.

No description available.

No description available.

Caspian Christoph is a drunken failure as an explorer. After an extensive night of hard drinking on a colony planet of Venus he finds a map that describes a direct route to the valuable trade planet of Paladee. The direct route would allow for flights to be four times shorter thus enabling quicker exportations from the planet. Initially, he is reject from his first two chosen sponsors, Venus (his home planet) and Earth, but Mars agrees to fund his exploration. His first map’s course is perfect, but there is one problem, the planet they landed on is not Paladee. When they first arrive on the new planet Caspian and his supporters, Marius, his best friend, Hoslet, his navigator and former lover and Roddick, a Martian Imperial Commander who once served under Caspian’s father, discover a species no Solarians (humans) have ever met. The aliens are a genderless race led by a giver named Vivron. One their first encounter Vivron and Caspian initiate a trade of mutual benefit to each’s race. Soon Caspian and the "Paladians" begin to harvest a relationship of mutual benefit, but there is one unfortunate side-effect, with them the Solarians have also brought disease, one that destroys the lives of many of the Paladians. On a trip back home Caspian sees a vision of his father who chides him for the life he is living. Self-realization kicks in and Caspian quits his drinking in an attempt to better his life and his family's name. Sent on their second journey to the planet, Pala-2, Caspian blames the mysterious disappearance of Marius on Vivron and leads a team of Martian Dash Troopers who overrun the Paladians and force them into slavery. The diseases coupled with the slave labor they must work destroys the lives of many of the Paladians. Soon, however the other planets, Venus and Earth want a piece of the exportation minerals from Pala-2 and they mount joint space attack on the Martian defenses protecting the planet. In the battle that ensues in space, on land and back in the Solarian system allegiances are fostered, bonds are broken, and lives are lost. Caspian attempts to rekindle his relationship with Hoslet only to have her turn on him for the betterment of Earth. Roddick saves Caspian’s life, something he could not do for Caspian’s father many years ago. But, the most painful incident comes at the end when Caspian and Roddick discover a crashed ship that landed on the hiding place of the Paladians, killing many of those who had survived the disease in the process. The realization of the destruction his discovery has caused forces Caspian’s character to come full circle and once again he takes up drinking as a dilute the painful heartaches in his life.

This project contains a literature review, a discussion, and an original feature length screenplay. The review of literature examines the various structuralist-inspired theories of narratology and the three-act structure method of screenplay construction.

published_or_final_version / abstract / toc / Linguistics / Master / Master of Arts

The purpose and problem of this thesis is to formulate a theory on screenplay aesthetics with Eisenstein's montage as the mother theory providing the aesthetic nourishment for the proposed concept of imaging. The theory of screenplay imaging proposes that the screenplay is a montage of sub-narratives occurring in the sensual, emotional, and intellectual dimensions and expressing the grand narrative theme. It further suggests that the interaction between the screenplay and the reader-interpreter should yield a prolificity of interpretation with a unified meaning. The thesis consists of five chapters. Chapter I, Introduction, lays the background for subsequent arguments. Chapter II, The Principles of Montage, discusses Eisenstein's theory. Chapter III, The Theory of Imaging, explains imaging and develops Gonzalez's Model of Imaging. Chapter IV, The Principles of Sensual, Emotional, and Intellectual Imaging, explains the three dimensions with examples. Chapter V, Conclusion and Recommendation, suggests improvements and applications of the theory.

Orientador: Antonio Francisco Magnoni / Banca: Marcos Américo / Banca: Glaucia Eneida Davino / Resumo: Discute-se a influência do advento das mídias digitais no processo de criação de roteiros para produções audiovisuais ficcionais brasileiras. Contextualiza-se a relação entre tecnologias e narrativas e também da produção de roteiros audiovisuais. Em seguida, discute-se esta influência a partir de um estudo de caso múltiplo, acompanhado de entrevistas em profundidade com criadores de produções brasileiras para mídias digitais / Abstracts: This discusses the influence of digital media in the process of creating Brazilian fictional screenplays. It adresses the relationship between technologies, narratives, and screenplay production. Then, this subject is approached from a multi-case study and in-depth interview with creators of Brazilian productions / Mestre

The Screen Test (Americana/Australiana) project is a collection of works that re-makes selected fragments of film spanning cinema history. Through a process of selectively slowing and stilling this form, of what Laura Mulvey calls Delayed Cinema, opens up new possibilities for interpreting and understanding cinema and the photographic. The aesthetic qualities and repetition of the scene or shot are re-created and re-performed, allowing an alternate form of cinema to take place. This alternate cinema takes on the characteristic of the Hollywood screen test and thus we can see each piece as the artist performing the screen test for each film. However, over time the screen test becomes the site for shifting the aesthetic elements within the film and shaping the narrative as a form of aesthetic building block. The viewing of each fragment allows for a new reading of film that suspends or subverts the temporal narrative and allows the contained segment to exist outside of the film opening up the possibility of constructing and emphasizing new iconic images and meanings. Each video piece is supplemented with a photographic still in tableaux form that further explores the aesthetic material of the film or shot raising the aesthetic components of the film ( props, locations etc) to the level of fetishism that may have been missed in the original version. This photographic rendering of the film fragment rethinks the possibilities of photographic tableaux and its relation to the iconic and indexical of photomedia art practice. Similarly, each photographic work is informed by theories of film analysis and psychology that has examined the primacy of the film still with Freudian notions of the primal scene and the uncanny. We are after all bringing to life the graveyard of cinema history. These photographic qualities of the mis en scene and the indexical of metonymy allow a heightened aesthetic experience, which transforms itself into an aberration of the director’s intended meaning, thereby reconstructing this meaning within the context of camp humour and irony. The work also acts as a playful and absurd interpretation of the cult of celebrity within cinema and the art world, which frees up of the interpretation of the film’s meaning and becomes the site for contemporary re-readings of film culture. The juxtaposition of the American Hollywood film and its emphasis on studio lighting, props, character and dialogue against the outdoor location of the Australian films conflates the two cultural imperatives, allowing for the examination of cultural myth through cinema. American cinema is revealed as the dominant culture whose imperialism dogs Australian film and fosters a culture of low self-esteem. Further, the Americana works become the site for cultural examinations of gender, narcissism and war - both real and imagined – and Hollywood is explored in terms of its social imaginings and how they play into real life events. The Australiana component explores the mythology of the Australian landscape with an emphasis on the culture of masculinity and self-destructive violence. However, each work is the result of a conflation of both cultures and other films, or parts of the same film, shifted within the fragment. The production of each photographic and video piece requires the taking on of the role of director, cinematographer, actor and producer. Through the use of interactive technologies such as DVD and the Internet not only am I able to experience a new subjective relationship with the intricacies of cinema but also by recreating these cinematic fragments I am able to bring into being and transform the spectre of cinema into the realm of contemporary art practice.