In this paper I will describe and analyze the process of creating my thesis film, Call Me Cappy. I will start with stating the theme and discuss each aspect of this process in relation to the theme that originated this project. I will detail my biggest challenges and struggles. I will also try to show how the knowledge I absorbed through attending the graduate film program, and the literature I have read, has served my journey as a filmmaker. In the end, I will attempt to evaluate whether my theme found its full expression through this film. The final analysis will determine how well I was able to incorporate all the aspects of storytelling into creating a coherent piece of work.

This paper will cover the making of my thesis film Rachel’s Madcap Theater. I will break down all of the interdisciplinary aspects and collaborations with other artists that formed the final film: screenwriting, production design, directing, cinematography, sound, music, and special effects. For each of these categories, when appropriate, I will compare and contrast the changes made during the main stages of filmmaking: pre-production (all decisions made before shooting begins), production (all decisions made while shooting the movie), and post-production (all decisions made after shooting ends). I will then provide self-analysis of my process in order to judge both the ultimate success of my thesis film (did I make the film that I originally intended to make?) and the strengths and weaknesses of my personal abilities.

Nowhere fast.

Conceive, design, produce, and exhibit a complete video art project that brings together skills and concepts I have learned in my critical studies and studio practice courses.

In this paper, I will reflect on the challenges I faced from the first idea to the final export of 40 Meters Down, and how I overcame these.

This paper sets out to detail the making of When I Wake with specific attention being paid to the mental processes of, the author, Summer Pierce throughout the undertaking. The paper, much like the filmmaking process, will discuss in succession the inspirations for the film, pre-production formulations, production of the film, post-production procedures, and analysis thereof.

This paper will discuss the making of my thesis film, Past the Darkness. I will describe the entire process including story conception, film production, and post-production stages. I will also evaluate the merits, flaws, and outcome of this project.

In Australia, the decades of the 1960s, 1970s and 1980s were times of a great nationalist revival and cultural self-discovery. In the visual arts, theatre, popular and classical music, and especially in cinema and television, a distinct Australian voice could be heard that was accepted as culturally valid and nationally relevant. The renaissance of local production for cinema and television was reliant on the patronage of the state, first the Commonwealth government with the establishment of the Australian Film Development Corporation and the Experimental Film and Television Fund in 1970 and, later, the Australian Film and Television School. Then from 1972 to 1978 each Australian state established a film support agency to extend that patronage and assure the state of a role in the burgeoning film industry. This thesis relates the stories of the creation and development-and in some cases demise-of those six state film agencies over the period 1970 to 1988. It identifies the influences that directed the creation of each state agency and proposes a qualitative model of the relationships between the influences. It then argues the applicability of the model to the formation of cultural policy in general in a pluralistic democratic society. It also argues that the state film agencies were more influential on national film industry policy than has hitherto been recognised.

The decade of the 1980s has often been considered a reactionary artistic wasteland in film studies, but it was nonetheless a period of volatile changes for the film industry. This period saw the decline of the mainstream horror film and the rise of the family film, two currents that reflect and illuminate the enormous changes in film production, marketing, and distribution. The hybrid genre of the childrens horror film, born in the 1980s, is particularly apt for discussing both the industry changes in this period and childrens relationship as viewers to the medium of film. The thesis defines the childrens horror film as a subgenre and focuses primarily on five films: The Watcher in the Woods, Something Wicked This Way Comes, Gremlins, The Lost Boys, and Lady in White. The following thesis is an electronic document presented in PDF format.

A group of war orphans entered my life in 2007 when I was in Liberia working as the sound recordist for a documentary crew. I spent five months with them at their home, a rural Liberian orphanage named Rainbow Town. The boys at the orphanage often told me stories. During free time, we sat under the canopy outside their dorm and talked. The stories, which ranged from horrific accounts of war to playful tales of spiders and goats, fascinated me. With each story the boys narrated, a new illustration formed in my imagination. By the time I left Liberia, I had a pocketbook full of magical characters and events (See Appendix A). The boys' stories, which blend nonfiction with fantasy and folklore, are the inspiration for my 3D animation short, Dolo: Journey of the Lost Tapes. In this paper, I tell the stories behind the creation of the animation, share personal production experiences, and discuss the theoretical and historical influences that shaped my work. I conclude by discussing Dolo's significance and the work that I plan to do on the piece in the future.