Abstract The goal of this paper is to provide insight into the development and execution of the short film, Timelocked. I will focus on the complete process of the film’s creation, from the first inspiration of the idea through its planning, its production and, finally, its use beyond submission to my thesis committee for consideration. The most significant challenge for this project was remaining true to the story’s genre, tone, and theme throughout each iteration of its development. Therefore, the structure of the paper will serve to describe the entire process with respect to the preservation of these three aspects. My goal is to prove mastery in the fine art of film production by creating a film which effectively shows deep understanding of the time-travel sub-genre of science-fiction films, while subverting that sub-genre in a unique way, causing an emotional effect in the audience.

This paper examines the background, development and production of the film ‘Songs of the immigrant bride’ and explains the general decisions made throughout the creation of the film. It proposes the idea that visuals, combined in an abstract narrative with music/sound, can create a language outside that generally accepted in real-time film (generally) and animation (specifically) to create a communicating ‘mythopoetic’ film-style from combined, selected elements, of both genres. Some of the issues presented and examined are: how relevant background experiences and influences directed the image-making in the production of the film; the experimental use of symbols and metaphor for an ‘evocative’ narrative in both visuals and sound, and the use of these within the film; the relevance of the theme of journey to viewers of the film; the part played by ‘Chance’ as an accepted phenomenon in shaping the direction of the film; production considerations, other than those of image and sound, to enhance audience perception and understanding of the film; ‘understanding’, as a physical as well as an intellectual phenomenon / Master of Arts (Hons)

Women work in the adult film industry in a variety of behind-the-scenes occupations and executive roles. Moreover, women can often negotiate the terms of their employment, pay scales have been standardized, and protecting women’s health is conventional practice. As would be expected, women were not always integrated into every level of the adult film industry workplace. This process occurred over time, as it occurred over time in myriad other workplaces; however, unlike many other workplaces, neither advocacy from an external social movement nor activism from workers within the industry itself initiated this integration. With the magnitude of the adult film industry, the apparent integration of women workers, rhetorical assumptions, and scholarly oversights in mind, two core questions are posed in this research. First, have women’s incorporation and opportunities for participation in the United States’ adult film industry changed since the 1950s? Second, has the content of adult films changed since the 1950s? The evidence suggests that women’s labor rights and opportunities have been expanded internally, from the top-down. Company owners, film producers, and powerful industry leaders began expanding women’s rights in response to legal and cultural pressures from regulators and industry-wide structural changes occurring during the late 1970s and early 1980s. In this study, I explore the processes responsible for these developments. The central argument is that the historical development of the adult film industry has been shaped by dynamic multidimensional tensions existing between producers, consumers, and regulators. These tensions are partially reflected in the content of key adult films. The historical development of the adult film industry has led to the emergence of a closely interconnected occupational network. This network and what I call “industry protective practices” –endeavors initiated by adult film industry business leaders, owners, and producers that protect both the welfare of workers and the industry itself— operate synergistically and are responsible for the top-down expansion of women workers’ labor rights and opportunities over time. Industry protective practices, including mandatory and centralized HIV/STI testing and the development of a production code itemizing sex depictions to be avoided, tell us much about strategic rights expansion from the top down. / text

I contacted the production company Salmonfox in the hope that they would have any projects that they needed help with. It showed that Salmonfox just started up an old project that they needed to complete. They wanted my help to edit some trailers and one crowdfundingfilm for the short film called, Captain Sweden (Kapten Sverige). Salmonfox are hopefully going to use the different trailers and crowdfundingfilm to promote the short film and get help with the funding to make a feature. The project began with a pilot study in which I made a time plan and a requirements plan, where the different requirements were set. A communication between me and Mathias were co-the-working-time. The project resulted in 3 teasers, 1 trailer and 1 crowdfundingfilm. These were made with guidelines and suggestions over how to make a trailer and my own suggestions. The conclusion of the project is to make a great pilot study so you easily can follow the planning and in that way reduce the chances of failure or get the feeling that the amount of time is not enough. The report’s theoretical part focus on how you make different trailers and gives suggestions on how to make your trailers better and reach out to the audience, which types of techniques there are and what you should think about. The theoretical part will also bring up what a crowdfundingfilm is and how crowdfunding works. The report will also focus on the platforms Final Cut Pro and Adobe Premiere Pro, what they are and how they are working.

This project explores the process of creating my own reality television series, titled Travels with Charley. Drawn from John Steinbeck’s 1962 novel, my television series focuses on pet travel, and by doing so, I address the impact of reality television and the critiques pertaining to the genre. Alongside the written portion, I produced and submitted the pilot episode of the series.

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.

"A New Battleground" looks into the variety of on-campus opinions regarding the Israeli-Palestinian conflict. This film is short documentary style, with filmed interviews of students and teachers, imparting an educational message meant to inform others of the complexity of this highly topical issue.

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.