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Adachigahara Project: a 3D Iterative Series

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Adachigahara Project: a 3D Iterative Series University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 Adachigahara Project: A 3D Iterative Series James Mitchell University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Mitchell, James, "Adachigahara Project: A 3D Iterative Series" (2020). Electronic Theses and Dissertations, 2020-. 384. https://stars.library.ucf.edu/etd2020/384 ADACHIGAHARA PROJECT: A 3D ITERATIVE SERIES by JAMES MITCHELL BA FILM UNIVERSITY OF CENTRAL FLORIDA, 2005 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Nicholson School of Communications and Media in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2020 Major Professor: Lisa Mills Copyright 2020 ii ABSTRACT This project tested an aesthetic use of 3D space to create alienation and immersion. It expanded upon it through iteration into other methods of cinematic alienation. To do this the project produced three short films each used the aesthetic of stereoscopic space. Two of the films were tested in conjunction with other methods of alienation while one served as a baseline. The project was able to render the spatial method of alienation and immersion, and found that other methods of alienation had an effect on it. While the project was able to test the use of 3D space to alienate and immerse, the process was more difficult than expected and the end films were of lower quality than desired. iii ACKNOWLEDGMENTS I would like to thank my thesis committee: Lisa Mills, Katherine Shults, and Cheryl Briggs for all of their support and guidance throughout the thesis and dissertation process. I would also like to thank Christopher Harris for his advice that helped shape the vision of the project. iv TABLE OF CONTENTS LIST OF FIGURES .......................................................................................................................................... vii LIST OF TABLES ........................................................................................................................................... viii INTRODUCTION: FILMMAKER STATEMENT .................................................................................................. 1 CHAPTER ONE: EVIDENCE OF AESTHETIC LITERACY ..................................................................................... 3 Introduction .............................................................................................................................................. 3 The 3D Medium ........................................................................................................................................ 4 3D History ................................................................................................................................................. 4 3D Space .................................................................................................................................................... 5 Noh Theater .............................................................................................................................................. 7 Japanese New Wave ............................................................................................................................... 10 The Psycho-drama................................................................................................................................... 12 Conclusion ............................................................................................................................................... 14 Screening List .......................................................................................................................................... 15 List of References .................................................................................................................................... 16 CHAPTER TWO: EVIDENCE OF PRODUCTION LITERACY .............................................................................. 18 Introduction ............................................................................................................................................ 18 Production as an Experimental Process .................................................................................................. 18 The Black Mound: Adapting Noh ............................................................................................................ 19 Adapting Noh to Japanese New Wave: Alienation in Space ................................................................... 22 Adapting Noh to the Psycho-Drama: Alienation in Time ........................................................................ 23 3D Production ......................................................................................................................................... 23 Production Organization ......................................................................................................................... 25 Conclusion ............................................................................................................................................... 27 Screening List .......................................................................................................................................... 28 List of References .................................................................................................................................... 29 CHAPTER THREE: EVIDENCE OF FINANCIAL LITERACY ................................................................................ 30 The Audience .......................................................................................................................................... 30 Production ............................................................................................................................................... 31 v Marketing ................................................................................................................................................ 32 Festivals ................................................................................................................................................... 32 Social media ............................................................................................................................................ 34 Auteurs as Brands ................................................................................................................................... 37 Distribution and Monetization ................................................................................................................ 38 Conclusion ............................................................................................................................................... 39 List of References .................................................................................................................................... 40 CHAPTER FOUR: CONCLUSIONS .................................................................................................................. 41 Adapting Noh to the dialectic of alienation and immersion ................................................................... 41 Shooting in Narrative 3D ......................................................................................................................... 43 The 3D cinematic Product ....................................................................................................................... 46 In Summary ............................................................................................................................................. 47 Screening List .......................................................................................................................................... 48 APPENDIX A: PRODUCTION SCHEDULE EXAMPLE ...................................................................................... 49 APPENDIX B: SHOTLIST EXAMPLE ............................................................................................................... 54 APPENDIX C: BUDGET EXAMPLE ................................................................................................................. 57 AGRREMENT D: ACTOR AGREEMENT EXAMPLE ......................................................................................... 59 APPENDIX E: CREW VOLUNTEER AGREEMENT EXAMPLE ........................................................................... 63 APPENDIX F: PAID CREW AGREEMENT EXAMPLE ....................................................................................... 65 APPENDIX G: LOCATION AGREEMENT EXAMPLE ........................................................................................ 71 APPENDIX H: FILM PERMIT EXAMPLE ......................................................................................................... 75 APPENDIX I: INSURANCE EXAMPLE ............................................................................................................. 81 APPENDIX J: SCRIPTS ..................................................................................................................................
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