This report documents the making of the thesis film The History Lesson. This short narrative film is the final requirement for a Master of Fine Arts degree in the Department of Radio-TV-Film at the University of Texas at Austin. / text

This study analyzes the relationship between the access to capital and the individual's construction of gender as presented in six Latin American cinematic depictions from Argentina, Brazil and Mexico that focus the point of view on young women in the urban space. David Harvey's theory on the urbanization of consciousness is used to analyze the females' relationship to family, class, community and state in terms of how each of these elements will impact the access to capital. The interaction with these factors determine that capital will also impact the construction of gender in the city-space. The films analyzed are as follows: Perfume de Violetas (2000) directed by Maryse Sistach, Àngel de fuego (1991) directed by Dana Rotberg Un día de suerte (2002) directed by Sandra Gugliotta, Hoy y mañana (2006) by Alejandro Chomsky, Uma Vida em Segredo (2001) by Suzana Amaral and Antônia (2006), by Tata Amaral. Film theory, feminist film theory, and gender studies are applied in the analysis of films.

This is a film practice PhD investigating how selfhood, love and responsibility within couple and family units are conveyed, imagined or problematized in contemporary cinema and how the properties of screen fiction can be used to explore contemporary parental experience. The research project incorporates an original feature screenplay (Nuclear) and short film (Inhabit) which were developed in parallel to, and informed by, the theoretical research in the accompanying critical thesis. Chapter One explores how parenthood, with an emphasis on motherhood, might be imagined by non or aspiring parents, and what anxieties or desires are expressed through these imaginings. Miranda July’s The Future (2010) and Joanna Hogg’s Unrelated (2006) are placed in dialogue with Inhabit (2014) in an examination of the slippage of generational identity experienced by the characters as they struggle with the prospect of impending or denied parenthood. Chapter Two concentrates of evocations of the everyday as it intersects with stories of family life. Drawing from cultural theorists of the everyday including Giard, de Certeau and Highmore, I examine why and how we might attend to the everyday on screen. Taking Henri Lefebvre’s notion of ‘rhythmanalysis’ as a tool with which to analyse Michael Winterbottom’s Everyday (2012), Joanna Hogg’s Archipelago (2010) and Nuclear, I explore how rhythm and patterns of repetition and difference can embody and communicate experiences of domestic relationships and the everyday. In Chapter Three, I analyse spectator engagement via character, and look at how Asghar Farhadi’s A Separation (2011), Noah Baumbach’s The Squid and the Whale (2005) and Nuclear utilise a multi-protagonist structure to create a democracy within the narrative. Through a symbiotic approach to theory and practice and a focus on British middle-class subjects, I have sought to investigate parallel drives within couple and family units and to accomplish a balance between the demands of drama and a desire to describe the everyday.

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This paper examines the themes in Nigerian cinema, popularly referred to as Nollywood, and their evolution over time. This analysis will give indigenous and colonial context to the origins of filmmaking in Nigeria and illustrate how the societal events impacting the country influenced the subject matter being explored. Through research from scholarly journals, review of specific films, and input from filmmakers in the industry, we will gain an understanding of Nollywood cinema and the stories which Nigerian filmmakers decide to share.

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Stämningen en film förmedlar är en av de viktigaste aspekterna inom filmskapande och filmmediet. Det är denna stämning som har möjligheten att påverka åskådarens känslor både under filmens gång och efter att eftertexterna har rullat förbi. Detta kandidatarbete syftar till att påvisa stämningens betydelse inom filmmediet samt se hur filmskapare kan utföra filmproduktioner för att förstärka stämningen deras film förmedlar. För att uppnå detta utförde vi två filmproduktioner som resulterade i en kortfilm och en presentationsfilm. Båda produktionerna utfördes med deltagande filmskapande som sin grundpelare, som var med och påverkade alla val och beslut vi tog genom processerna. Deltagande filmskapande ledde oss även till att få fler och mer unika idéer in i våra projekt och filmer för att förstärka stämningarna som förmedlas av våra filmer. Vi valde att utgå från filmteorier angående en films tempo av Ross Hockrow och platsens betydelse av Mats Ödeen, för att sedan utföra filminspelningarna med hjälp av inspelningsmetoder som The Master Scene Method och The Split Sequence efter Blain Browns och Luis Fernando Morales Morantes beskrivningar. Vi höll till sist en förhandsvisning av våra filmer för att undersöka och sedan diskutera huruvida vi lyckats med att genom deltagande filmskapande, filmteorier och inspelningsmetoder förmedla stämningar med våra filmer. / The mood that a film conveys is one of the most important aspects in filmmaking and the film medium. It is this mood that has the opportunity to elicit emotions in the viewer, both during the movie but also after the credits has rolled. This Bachelor Thesis aim to show the importance of mood in the film medium as well as how a filmmaker can produce a film project in a way that amplifies the mood that the film conveys. To achieve this, we produced two film projects that resulted in one short movie and one infomercial. Both productions were produced with participatory filmmaking as a foundation, a method that influenced every choice and decision we made during the design process. Participatory filmmaking also led us to get several and more unique ideas for our projects and films in order to amplify the moods that our films conveys. We chose to proceed from film theories regarding the tempo of a film by Ross Hockrow and the importance of the location by Mats Ödeen, to then produce our film projects with shooting methods such as The Master Scene Sequence and The Split Sequence as described by Blain Brown and Luis Fernando Morales Morante. In the end of the design process we arranged a pre-screening of our films to check and discuss whether we succeeded to convey moods with our films with the help of participatory filmmaking, film theories and shooting methods.

The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.

This degree project involves a self-reflective analysis of an Australian Centre forInternational Agricultural Research (ACIAR) funded multimedia series. I produced thework in 2017, about the impact achieved in an agricultural research for developmentproject, working with cattle farmers in Indonesia. The overarching purpose of this study isto examine how I would embed greater participation throughout my filmmaking process ifundertaken again. The work is published online and comprises of five short films whichare accompanied by a series of photographs and text story. I chose to examine apreviously completed project of my own, knowing that it was undertaken with a limitedCommunication for Development (ComDev) perspective that has since been developedthrough my Master’s degree at Malmo University. Through my research, I seek first toidentify what aspects of the previous filmmaking process were participatory; second,investigate if there is a filmmaking process that could be recommended for future use toensure a greater level of participation among people; and third, determine if my donorfundedmultimedia impact stories only serve the public relations outcomes of thedevelopment industry.

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