In this thesis, I outline the changing shape of the reenactment in the contemporary true crime documentary to illustrate a burgeoning crisis of epistemology and anxieties about the authority of evidence in the Digital Age. I examine two works—The Jinx and The Imposter—that deal with evidence in formally similar but ideologically opposite ways. Logic in the Digital Age prioritizes an ever-widening collection of increasingly more precise artifacts and details, which supposedly paint a more complete picture but end up highlighting what is unknown more often. Key to this examination is the adoption of classic Hollywood thriller techniques (e.g., non-traditional narrative structures that emphasize subjectivity, twist endings that create uncertainty and doubt, etc.) which indicate a shift away from the traditional “cool” rhetorical control of social realist documentaries towards the emotionally charged manipulation of the thriller. This shift cannot be sufficiently explained by the overarching progression of the documentary towards more reflexive and performative modes. Rather, at the center of this shift is the use of stylized reenactments that share both the thriller’s preoccupation with subjectivity and uncertainty and digital logic’s pervading heterogeneous makeup. This shift troubles the mastery true crime docs implicitly claim to offer through evidence and the authority of the American criminal justice system in a different way than the more self-reflexive modes of documentary. To resolve the trouble, these films appeal less to evidence and more to emotional certainty and pathos as a way of judging guilt and innocence, shifting the way concrete evidence is understood.

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Death's Visage is a feature film that was created from an idea developed due to a personal relationship with an artist, who was a professional illustrator and painter. The film follows a young woman who becomes entrapped in a demonic sphere and time zone where her fear is the demon's gratification. She questions the events that are unfolding, which creates herpsychological turmoil, while taking place in the family home that is in an older established middle-class neighborhood. Death's Visage was a micro-budgeted film produced for $20,778. The capital needed for this film meets the University of Central Florida Feature Film Production program's microbudget requirements. This document will explore the utilization of space, diverse components, equipment, cross-trainable talent, and a detailed financial distribution.

"Amidst a Bottled Word: Poetry and Prose" includes a variety of different themes, styles, and genre—many reflecting a cynical or ironic tone. This eclectic thesis reflects the wide-ranging interest of its creator. The stories within this collection are a thriller and a work of speculative fiction, the former supernatural and the latter near future or science fiction. In one story, "The Man Behind the Curtain," Val, the older of two young sisters, must protect herself and her sister while enduring a weekend visit to her estranged Grandparents' house, while signs of a mysterious man keep emerging throughout their stay. The futuristic story, "Life.exe," details a man overcoming his own personal dystopia by finding comfort within the arms of an inadvertently purchased robotic companion. Additionally, the poems within the collection deal with failed love, anxiety, isolation, and despair. Finally, the thesis also includes an essay, "The Schism Past Skin," expounding on race, ethnicity and how people make assumptions of others based on appearance.

Desperate to post bail after the love of his life is seized by ICE, an undocumented dishwasher descends into the underbelly of California’s Central Valley and a bloody bidding war for the severed head of a man everyone is looking for.

Tokyo, 2083. When a loner detective is hired by an injured amnesiac to recover her identity, he’s forced to dive into his own haunted past.

Disgraced novelist Dan Alistair is reeling from a recent public scandal when he meets beguiling first-time author Evan Verde at a secluded writer’s retreat. When Evan uses their shared experiences to tell a twisted story, Dan becomes obsessed with uncovering his ulterior motives. Is there truth to Dan’s paranoia, or will his theories prove delusional?

After a jaded K-pop star rebels against his controlling manager by announcing his solo career, his new handler takes him to a remote cabin to record his debut album. His dream skids to a halt when he realizes his handler is actually an obsessed, delusional fan who demands the pop star write his debut album about her — or else.

<p>This study is a conscious attempt at opening up the discussion on the Italian giallo film of the 1960’s & 1970’s. Part of its mission is examine views and writings currently available on the giallo and using these to analyse the body of films known as the giallo. It is also an attempt at the generic definition seeing the giallo as a series of thriller films according to Tzvetan Todorov’s model and in depth discussing the influence of the horror story and the whodunit. Beyond that it is a close look upon the form and devices of giallo narration, with focus upon the role of the eyewitness, focalization and point of view as first person narration. The study also traces the giallo’s influences interdisciplinary including placing it in the cultural context of the Italian adult comics known as fumetti neri. The study also includes a close look upon the idea of the eroticised violent set piece tracing it to the French theatre of horror – the Grand Guignol. Furthermore the study addresses the concept of seriality as understood in reference to the giallo. Finally the study examines the role of the giallo hero and suggests that the giallo is posing existential questions, and can be understood as existential suspense thrillers. The findings are exemplified through a wide scope of films including brief references and longer analytic examples elaborating on topical discussions in this developing field of study.</p>