ItemThe catalysts, standards, and diffusions of virtual production technologies and workflows : perspectives from key stakeholders.(2022-04-22) Jobin, Rachel E., 1998-; Shafer, Daniel Mark, 1978-Propelled into the spotlight by The Mandalorian in 2019, the filmmaking technique commonly referred to as virtual production, which uses gaming engines to display VFX content on LED volumes in real-time to allow for in-camera final-pixel capture, is often heralded as the future of digital filmmaking. While information about virtual production and its specific application in the entertainment industry is increasing exponentially, no formal study has sought to examine the adoption patterns of virtual production using the theoretical foundations of innovation theory. Through in-depth interviews with key virtual production stakeholders, this thesis identifies the aspects of virtual production technology that might accelerate or impede its adoption. External drivers at the level of industry and culture are also explored, followed by a series of recommendations based on diffusion of innovation theory and innovation management intended to further the adoption of virtual production. ItemWriting and directing the short film, Love Bomb.(2022-04-27) Bean, Jessica, 1996-; Hansen, Christopher J.This thesis catalogues the creative process and production of the short film, Love Bomb. The film and accompanying paper are a part of the thesis requirements for a Master of Arts in Film and Digital Media from Baylor University. This paper addresses the pre-production considerations for the film including my personal and professional goals for the project, theoretical and dramaturgical influences, filmmaking approach, script analysis and planning for the production process. Description of the production and post-production processes are also included, as well as my reflections and conclusions about the finished film. ItemWriting the screenplay, Neon Moon.(2022-04-25) Hayes, Joe N., 1998-; Hansen, Christopher J.This thesis will explore the creative process behind crafting a “dramedy”, while also defining the genre of “dramedy” and finding out what makes this style of storytelling work. Judd Apatow, director of such films as Knocked Up and The 40 Year Old Virgin, says in his Masterclass that all comedy stories should work with and without the jokes. With good characters and an emotional core, it should be easy to go in later and make the story funny. The key is to create a story with realistic characters in realistic situations, and those characters just happen to be funny people. Some writers like David Foster Wallace and Wes Anderson add one other element to “dramedy”, and that is the idea that treating ironic situations with complete sincerity also adds dramatic elements to situations that should otherwise be darkly comedic. The thesis will explore this creative process by examining the many creative, theoretical, and analytical facets that go into writing a story, specifically the screenplay Neon Moon. It will also include my personal goals for the project, as well as the professional goals in tandem. In the process of brainstorming the idea of Neon Moon, I wanted to make a comedy. However, as the elements of the story came together, the story beats started to look much less comedic and much more dramatic. The heart of the story is very dramatic, but the characters themselves are funny and quirky people with a lot of comedic mileage. This is what’s known as a “dramedy,” a Frankenstein’s monster hybrid of drama and comedy. ItemA critical analysis of neorealism and writing the screenplay, Mid-Sized City (Waco).(2021-04-30) Pasma, Blaine R., 1996-; Kendrick, James, 1974-; Hansen, Christopher J.This thesis outlines both the historical and theoretical background to Italian neorealism and its influences specifically in global cinema and modern American independent cinema. It will also consist of a screenplay for a short film inspired by neorealist practices. Following this, a detailed script analysis will examine a variety of cinematic devices used and will be cross-examined with the research done before. The thesis will also include personal and professional goals. ItemLovable lamps and sad umbrellas : empathizing with inanimate objects in animated films.(2021-04-22) Edwards, Alyssa D., 1996-; Shafer, Daniel Mark, 1978-Why do people empathize with movie characters who aren’t human beings? What causes viewers to perceive inanimate objects as people, such as the hopping lamp in Pixar’s Luxo Jr.? These questions are under-researched in scholarly literature. Thus, this study used an original, animated video as a stimulus to explore the relationship between anthropomorphism and empathy and to investigate how participants labeled characters’ limbs. Because definitions vary greatly, this paper first defines “anthropomorphism” and “empathy.” The study found that the presence of appendages significantly increased both empathy and the use of anthropomorphic language when compared to the limbless character, regardless of the type of appendage or whether participants labeled it with human anatomy terms. Additionally, participants’ use of anthropomorphic language was significantly linked to empathy. Thus, anthropomorphism and empathy are connected when viewing animated characters, but an explanation of all factors behind these processes is yet to be discovered. ItemWriting the screenplay, Grammy's Grand Slam.(2020-07-14) McNamara, Ryan, 1995-; Hansen, Christopher J.The following thesis details the creative process behind the screenplay, Grammy’s Grand Slam. This includes personal and professional goals, an overview of dark comedy as a genre, the research process, as well as the outlining and writing process. While on the surface, a silly story about a grandma’s quest for vengeance, this project is the result of a lengthy research and writing process. The purpose of this paper is to shed light on that process. Dark comedies are not just comedies with extra bite, but rather, they are stories that have a unique platform for social commentary that traditional comedies are less suited for. Life is not all comedy nor is it all tragedy. As such, great stories should reflect that. Even a fun, grandma revenge story should have heart.