NO MAN’S LAND (One-Hour, Horror) – In a dying Dust Bowl town suffering from the outbreak of a strange disease, a headstrong epidemiologist finds herself facing off against an ancient, supernatural entity.

When a troubled young woman’s investigation into her high school crush’s disappearance leads her into an entirely new dimension– a failed penal colony with supernatural forces, feuding inhabitants, and mortal danger- she must find the truth while also trying to find a way back. A One-Hour YA Fantasy Adventure Pilot.

THE FITTEST (Half-Hour Drama, Anime/Fantasy/Sci-fi): Newly deemed terrorists set out to prove their loyalty by capturing their country’s most-wanted, a terrorist group called Specter. However, as they spend more time with the country’s people, they start to question who the real terrorists are.

It is an animated series for kids. It centers on Sid, an adventurous eleven-year-old girl, who gets into trouble one too many times, and a Bogeyman, is sent to scare her straight. But this monster, named Bugaboo, turns out not to be the scary creature that she thought he would be, creating an unlikely friendship between the two.

In the aftermath of their baby’s stillbirth, eccentric couple Marlow and Dev clash with overbearing loved ones, outspoken neighbor kids, and each other while trying to reconcile unmet expectations and their newfound reality. Bottling up her emotions, Marlow begins to see inanimate objects speak, spewing out the feelings she hopes to keep suppressed.

ABSTRACT This paper will detail the process of creating and making the film Everything that Shines is not Gold. This paper divides into four parts: writing process, pre-production, production, and postproduction. The first part will touch on how the story came about and the writing process. The second part will cover the pre-production aspects and how I dealt with a strict deadline. Next, I will talk about directing. In the fourth part, I will discuss the long and tiring postproduction workflow. Last, I will reflect on making and what I learned.

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.

There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes in Yang’s film illustrate the spirit of the questions that guide the aesthetic approach I have taken in my own documentary project. My thesis is composed of two parts: a video project and a research paper, the former of which is a documentary entitled Yi. Named after its primary subject, the film explores the intersections of transnational migrancy and cultural identity through a series of interviews that are intercut with scenes of everyday life that are shot in an observational style. The research paper that follows will situate the project within a specific historical, conceptual, and aesthetic context, before delineating how the cinematic composition of my documentary engages with this framework.

A reflection of my short film American Mom