Thesis (MS) -- Oregon State University, 2006. / Printout. Includes bibliographical references (leaf 46). Also available on the World Wide Web.

Thesis (Ph.D.)--Hong Kong University of Science and Technology, 2005. / Includes bibliographical references. Also available in electronic version.

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The transformation of matter and the reflection of light are at the heart of filmmaking and moving image practice, exemplified by Stan Brakhage’s assertion that “matter is still light. Light held in a bind.” Catoptrics is the use of optical devices, mirrors, crystals and lenses in the processes of focussing and directing light. Alchemy has a two thousand year history, commonly misunderstood as a form erroneous proto-chemistry in which people sought the Philosopher’s Stone to transmute base metals into gold. Alchemical catoptrics is the place where the disciplines of alchemy and catoptrics meet, encompassing an enquiry into the fundamental properties of matter and the possibilities for its transformation, bound up in range of pre-scientific belief systems and philosophies of light, matter and cosmogenesis. In conventional media histories, the historical antecedents of moving image practice are usually explored through the evolution of visual media technologies. Such an approach only deals with the superficial tools of moving image practice, binding itself up in the machinery of spectacle, while remaining silent on the deeper questions of humankind’s imaginative relationship with luminous matter. The practice of alchemical catoptrics was an experimental exploration of this relationship; between light, the phenomenal world, the deep structure of substance, imagination, belief and meaning. The current study offers a fresh historical perspective on what it means to experiment with the substance of light in a transformative, luminous, meaning-making capacity. It uncovers a language of transformation that speaks to the author's own practice, while offering new insights into the experimental methodologies, motives and practices of other moving image artists. The research discusses the 13th century light philosophy of Robert Grosseteste and its referencing by Stan Brakhage and Hollis Frampton, leading into an exploration of the methodologies of historical alchemical catoptrics, citing original document translations prepared for the purpose of the thesis. Using the examples of Man Ray (1890–1976) and Patrick Bokanowski (1943-present), the research then shows how alchemical catoptrical thinking can inform our interpretation of the practices of these two moving image artists. The thesis concludes with an examination of the alchemical-catoptrical ideas and methods used for the production of two of my recent film works: Speculum (2011-2014) and Catoptrica (2011-2013).

This project documents and reflects on the entire process from inception to execution of my short film, TERMS. Inspired by Yorgos Lanthimos’ The Lobster, my film falls under the genre of magical realism and explores the idea of reincarnation as a physical transformation, which acts as a vehicle through which my film’s protagonist comes to terms with her mother’s premature death. TERMS has been submitted alongside this written portion.

The documentary, "Get Out of My Hair, " engages in the dialogue of hair removal and its relationship to femininity, specifically looking at how the media has taught young women to fear the affects of puberty. The piece features ten women between the ages of eleven and twenty-two with ranging demographics who are all brought together by their experiences with their body hair. Applying media effects theory and psychoanalytic theory, this project examines how advertising portrayals of female body depilation contribute to the increase in hair removal and further align the concept of femininity with hairlessness.

Animal rights activists and animal welfare advocates are the two most vocal groups dedicated towards improving the lives of animals, however they often end up fighting with each other instead of working with together. They get caught up in the small details and forget that they are both working towards the same bigger picture: living in a world where animals and humans can cohabitate happily and healthily. Both groups use the media as a tool to grab headlines and generate controversy, which sheds light on animal rights issues. While its commendable that both groups are willing to go to many extremes to get their message to the public, they do so at the expense of properly educating the public. Animals rights issues become more about the spectacle than the animals, which ultimately ends up helping no one. I want to first analyse the arguments about captivity from both parties, and then delve into the tactics that they use to get their ideologies across. My goal was to create a short documentary that explores the depth of these issues, critique the role that the media plays through the lens of a specific animal: Billy the Elephant.

An animated documentary that looks at the role that the casting process plays in the diversity of film and television.

The paper identifies the lack of representation of the international student experience on screen and examines how Xin Yi is a film script that explores this subject matter. The analysis provides a survey of film and television that addresses similar topics and uses the theoretical framework of exilic filmmaking by Hamid Naficy. Xin Yi revolves around a Chinese mother-daughter relationship. The mother visits her daughter who studies in the U.S during Chinese New Year and reveals her divorce before she departs.