This short film visualizes the experiences of seven Scripps students who have or have had eating disorders, using interview audio and projected imagery to critique existing media portrayals of eating disorders, as well as humanizing those who actually suffer from them.

This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War. Early film production in Scotland has been characterised as a story of isolated and short-lived enterprises whose failure was inevitable. The work problematises this view, focusing instead on the potential for success of the various production strategies employed by Scottish film-makers. It demonstrates that producers were both ambitious and resourceful in the manner in which they sought to bring their films to local, national and international screens. Previously unknown markets for these films are also identified. In 1911 the first British three-reel film, Rob Roy, made in Scotland by a Glasgow production company, reached audiences as far away as Australia and New Zealand. Scottish efforts in film production, including the development of synchronised sound systems, were not haphazard but mirrored trends in the British and worldwide film industries until the late 1920s. With the coming of sound, the costs of commercial film production represented too great a challenge for the limited resources of Scottish producers. The study encompasses a detailed exploration of efforts in feature film production; how far these productions travelled and for whom they were made; the presentation and treatment of Scottish-made films by the trade press and local newspapers and their critical reception both at home and overseas. The majority of these films are lost, but close scrutiny of contemporary publicity and archival documents including business records has enabled a detailed picture to emerge of their content, nature and production background. Scottish stories and the Scottish landscape were important to the British film industry from its earliest days, and feature films shot on Scottish locations by outside producers are also discussed. Were these the films Scots would have made, if they could?

In this paper, I will cover the process of making my thesis film, Entrepreneurs. Specific facets of this process include writing, directing, production design, cinematography, editing, sound, and technology. I will detail the goals initially set for each facet, the approach taken during production, and the results that led to the finished product. I will then evaluate the overall success of the project.

This paper examines the production of my thesis film, “The Horse and The Castle.” I will explore the choices taken in each step of the production, from the writing process to post-production and finishing. Each area — writing, directing, production design, cinematography, editing, and sound — contained a multitude of decisions that helped to achieve my final vision for the film.

This paper will provide a comprehensive account of the making of the University of New Orleans Graduate Thesis film The Cobbler and the Diamond. The first part will cover the filmmaker’s intentions, the development of the story, and the screenwriting process. The second part will break down the preproduction and planning phase, with an emphasis on the collaborations between the director and other members of the film’s cast, crew, and other concerned parties. The third part will describe the seven-day shoot of The Cobbler and the Diamond, the fourth will cover post production, and the fifth and final part will evaluate the success of the finished work, both as a fulfillment of the initial intentions of the filmmaker, and as a work of art in its own right.

This document gives an account of my artistic efforts in creating my thesis film Fathers and Sons. This document includes sections that cover the writing, casting, production design, principal photography, and editing of my film. I give special attention to the writing process in Chapter 2, because of its personal significance to my growth as a filmmaker. This chapter details the evolution of my original story concept from a drama to a comedy. The ultimate goal of my film was to create a personal work of art. This document self-reflects on how well I was able to achieve this goal, and what I learned along the way.

In this paper I will discuss the personal process of making a film, specifically as it relates to my thesis Galatea. I will do this be examining the individual aspects of filmmaking, including but not limited to: writing, directing, production design, cinematography, editing, and visual effects.

In this thesis paper, I will document and analyze the process of making my graduate thesis film, Thrown. I will start by stating my overall thesis statement, then move into the evaluation of my performance in regards to each specific area of the filmmaking process. I will reflect how I translated my learning at the University of New Orleans in a practical application short film exercise and detail my successes and struggles throughout the process. The goal of this investigation is to understand how I can improve in the future. In the end, I will determine if my thesis proves true, the level of my success in individual aspects of filmmaking, and the overall efficacy of Thrown as a short film.

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A comedy web series about two stoners who wake up covered in blood with no memory of the night before and must solve a murder the only way they know how... by smoking.