Thesis (Ph.D.)--University of Adelaide, Dept. of Physics, 1973.

Universiẗat, Diss.--Bonn, 2001. / Quellen-und Literaturverz. S. 226-233.

Inaug.-diss. Philos.-hist. Fak. Bern, 1993. / Literaturverz.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

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If Found is a narrative 2D animated short film that explores our connection with death. The film makes use of the conventions of a Western fairy tale setting to make this difficult topic more digestible. This works in conjunction with the East Asian storytelling format of Kishotenketsu, a narrative convention focused on a conflict-less plot. Death is not something we can defeat; rather, it is a natural force with which we all must make peace. By following this traditional format, the film also explores and shows appreciation for the impacts of East Asian thought, storytelling, and animation on Western culture. The themes of this film, which were being explored starting in 2019, became more relevant with the onset of the Covid-19 pandemic. As our country, and the world, continue past the uncertainty of the last two years, it is necessary to come to terms with the loss of countless lives worldwide. No one in their life has escaped grief or loss, however, the extent of loss felt worldwide by the pandemic is something not seen for a generation. The themes of loss, grief, growth, and acceptance stand to be ever more relevant than when this project initially began. By following the natural progression of the seasons, If Found illustrates to viewers that after every winter, comes spring, and after every death, comes the opportunity for new life. The accompanying film to this paper can be viewed at https://vimeo.com/770578363

The animated short film Ruffled confronts the subjects of Feminism and Femininity through the after-hour musings of a young seamstress. Sewing to patterns and working from their papered paradigms she discovers her unique voice that is both referential of the past while remaining distinctly modern. The struggle twenty-first century Feminists may encounter when determining their place within a history rich with prejudice, confrontation, and triumph is metaphorically represented in each of the character's attempts at garment creation. Within the film, not only does this clothing harken back to vintage apparel but whimsically transforms her surroundings to reflect three visually distinct decades important to twentieth century Feminist theory. Finding herself in microcosms of the past she comes to realize they must be both integrated and expanded upon in order to fashion a future anew. Only in pulling elements from each vintage outfit, adding a few stitches of her own, and creating something altogether original is she satisfied and ready to leave the shop. Ruffled is a hybrid animation that utilizes both 2D and 3D techniques to contrast design aesthetics and symbolically divide the past and present. 2D planar props dress each dated era like that of a stage set and play into the notion of performative femininity; the juxtaposition between each perceived experience and the 3D physical realm are thus emphasized. Ruffled uses the medium of animation to address the notion that ingenuity and self-exploration are strengthened and made clear through examination of the past.

"And They Saved My Sorry Ass" is a documentary/personal essay film about queer ani- me lovers (including the filmmaker) based both in the US and in China. This film focuses on how these fans express their identities by embodying and re-interpreting anime characters. Experimental methods, such as staged performance, first-person narration and abstract imaging are explored in addition to conventional interviews. This thesis follows the pre-production, production and post-production processes of making this film through 2020 to 2023, also mapping out marketing and distribution plans after finishing the project.

Bottom of a Glass Blues and its accompanying dissertation, Cinematic Practices are the basis of research into production practices used by independent and micro-budget filmmakers in the Central Florida community. The research presented in this dissertation is used to satisfy the academic requirements for the University of Central Florida's Master of Fine Arts in Feature Film Production. Cinematic Practices evaluates production theories used in studio and independent film-making in the present day in addition to practices popularly embraced by local filmmakers in Central Florida. The research found that there is no shared knowledge on how to organize film crews for independent filmmakers and that which is available is opaque or unintuitive in scaling to a micro-budget production. In pursuit of a more streamlined approach to production and set organization, I combined traditional production practices on independent film sets and combined them with the staff and field unit organizational theory used by the United States Army. The staff and field unit organizational structure proved a highly practical and effective logistical tool in solving protracted production planning and problem solving. The system encourages a high degree of delegation and shared responsibility to subsidiary positions of leadership that inspires and motivates participation and collaboration. Bottom of a Glass Blues is a single location dramatic comedy written, directed, and produced using the Army inspired organizational theory of production with the aspiration of inspiring local filmmakers to create stories and industry throughout Central Florida.

Friendship is not always magical, as the protagonists learn in "The Miss-Adventures of Molly & Sage." In this buddy-comedy set in a magical fantasy world, the titular characters are two teenage girls who go on epic quests and cause mischief. Many aspects of the story went through changes during the production of this hand-drawn animated short film. However, the main characters and their chaotic friendship remained consistent throughout the animation process. While developing this film, I noticed that my peers responded positively when I referenced my Ashkenazi Jewish heritage in various story elements. The film's artistic style was heavily inspired by early 20th-century Russian artist Ivan Bilibin, who illustrated Eastern European folktales and fairytales. I also studied the work of other Art Nouveau-inspired artists, such as Charles Vess, with the goal of creating a 2D animated film with a youthful storybook feeling. As the film became more personal, it also became more engaging and emotional. This film has allowed me to examine my own beliefs about friendship, reflect on my Jewish identity in the context of animation and fantasy, and take audiences on a haphazard adventure in a world of magic and monsters. "The Miss-Adventures of Molly & Sage" can be viewed at https://vimeo.com/421744704 using "missadventures2023" as the password.