This thesis illustrates the production of the narrative short film Neil and the Nun. The various chapters included in this written work delineate the development, preproduction, production, and post-productions stages of this thesis film. In supplement to these four larger chapters, the script, shot list, budget, and script breakdown are included. Neil and the Nun, written, directed, produced, and edited by me, articulates life through the perceptions of a child. The story centers on the volatile relationship of two fourth graders and their teacher, a possibly closeted lesbian nun. Because they are children, they have different notions than adults of priority, relevance, and the meaning of life's events. The intention of this film is to authentically delve into this child worldview, revealing their shift towards wisdom and compassion. The film took twelve shooting days and involved five primary locations. My larger goal was to create a film that exemplifies my capacity as a filmmaker, thus, steering me towards the next step of my career.

This thesis documents the production of a seventeen-minute narrative film production, Submit. It includes chapters outlining the development, pre-production, production and post-production stages. In addition, the script, shot lists, equipment request form, budget, and camera reports are included. Written, produced, and directed by the author, Submit is the story about a man's desire to right his life by winning back a former love. The story involves deceit and plays with notions of identity and place. The film was shot in seven days throughout the City of New Orleans. The goal of this project was to create a short piece that in turn would be employed to garner further resources to shoot a feature length film.

This Master’s Report chronicles the process of inception, pre-production, production and post-production for Who Is Paloma Carter, a thesis film made as part of the MFA in Film Production at The University of Texas at Austin’s RTF Program, as well as the insights gained through these stages and the course of the entire program. / text

In this thesis report traces I detail the process from the conception of the idea through the arduous development and finally the final product of Wayne Cheong’s narrative screenplay. Also included are the numerous revisions that have resulted from his involvement in this project. / text

Kyoto University (京都大学) / 0048 / 新制・課程博士 / 博士(工学) / 甲第16463号 / 工博第3491号 / 新制||工||1528(附属図書館) / 29105 / 京都大学大学院工学研究科建築学専攻 / (主査)教授 門内 輝行, 教授 髙松 伸, 教授 神吉 紀世子 / 学位規則第4条第1項該当

Leaves on Trees is a 16-minute narrative film about a young boy who gets prescription glasses for the first time. The following report recounts the process of conception, pre-production, production, and post-production undertaken to produce the film. It discusses the hardships and successes of the project and posits a goal for the future. / text

The report details the development, pre-production, production, and post-production stages of Plus/Minus. Plus/Minus is a short, narrative film about about a young couple examining their relationship as they await the result of a pregnancy test. / text

Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.

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This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.