1,720,962 research outputs found
Didn't You Used to Be Somebody?
No full textThe screenplay, working title Didn’t You Used To Be Somebody?, is a creative exploration of sexism and ageism within the mainstream entertainment industry, and how this affects the perception of older women (defined as 35 years and older) in wider society.
I developed the screenplay using a creative practice methodology that included dramaturgical analysis, traditional research into theories of feminism, and social construction theory. I also studied conventional screenwriting techniques such as the three-act structure, dramatic beats and character arcs.
In this way, a screenplay was produced to offer a counter-story to the prevailing characterisation of ageing women in mainstream cinema. I also used a dramaturgical approach to trace and understand how cultural influences produced and continue to propagate these characterisations and how this influenced my creative process
Didn't You Used to Be Somebody?
No full textThe screenplay, working title Didn’t You Used To Be Somebody?, is a creative exploration of sexism and ageism within the mainstream entertainment industry, and how this affects the perception of older women (defined as 35 years and older) in wider society.
I developed the screenplay using a creative practice methodology that included dramaturgical analysis, traditional research into theories of feminism, and social construction theory. I also studied conventional screenwriting techniques such as the three-act structure, dramatic beats and character arcs.
In this way, a screenplay was produced to offer a counter-story to the prevailing characterisation of ageing women in mainstream cinema. I also used a dramaturgical approach to trace and understand how cultural influences produced and continue to propagate these characterisations and how this influenced my creative process
If There Are No Doors in a Fale, Where Do We ‘Come Out’ Of? Supernova – A Screenplay and Exploration of the Intergenerational Space Shared (In)Between Queer Pasifika Family Members
No full textThis research is a critical autoethnographic work that uses screenwriting to explore the intergenerational relationship and space between two Pasifika queer family members – myself and my late Aunty Ema (Fadi). Prompted by the title of my thesis if there are no doors in a fale (house), where do we ‘come out’ of? I have endeavoured to answer my main research question, what is the space shared intergenerationally between queer Pasifika family members? To answer this research question, this thesis is presented in two parts, the first is the screenplay and research artefact Supernova; and the second is this exegesis. Supernova is a critical autoethnographic screenwriting exploration. It is a feature film screenplay that fictionalizes the shared narrative between Aunty Fadi and I through the queer protagonists Eden and James as they search for belonging within the world as well as within their own family. The exegesis of this thesis has been written with the intention to provide critical commentary on Supernova drawing connections between ideas presented in the script, the theory and/or concepts used as well as my own reflections. It will analyse the screenwriting process using critical autoethnographic approaches such as queering autoethnography, collaborative autoethnography and performative autoethnography as a way to “embrace the power of surrendering to the creative unknown, in which terror can be rewarded with solidarity and social change” (Iosefo, Holman Jones & Harris, 2020, p. 1). Pacific/Pasifika (ref,1) concepts have also been identified as key sensemaking tools within this research such as the vā, waka, the fale, queer Pacific history and my family’s aiga ethics komiti. This research proposes the term vā fetū to describe the space between two stars as well as the space shared (in)between queer Pasifika family members. Through all parts of this research, I have discovered that the space shared intergenerationally between queer Pasifika family members transcends time, is a safe space of belonging and has the ability to transform families.
(ref,1) “The term Pasifika is an umbrella term used to categorise trans-culturally diverse peoples from the Pacific region who now live in New Zealand but continue to have family and cultural connections to Pacific Island nations … the term Pacific or Pacific peoples is an umbrella term that is used to categorise one of the islands in the Pacific Ocean, particularly used in reference to the islands of Melanesia, Micronesia and Polynesia” (Ministry of Education, 2018, p. 3
Prince Tui Teka. The Bridge Across the Ocean
No full text“Prince Tui Teka. The Bridge Across the Ocean” explores my preconceptions on music as they relate to the process of acculturation by engaging in the production of a documentary on legendary Māori performer Prince Tui Teka. I wanted to identify personal and societal connections between my home country and my new home here in Aotearoa, using this documentary as a way of bridging the gap and testing the idea of my adaptation and the universal threads (in this case music) that are crucial factors. A heuristic technique as the primary method of reflecting self-discovery will be tested in this study through the process of creating a documentary film
Tū ake ngā uri o Muriwai: Understanding Key Factors that Lead to the Success of Rangatahi Māori from Ōpōtiki
No full textŌpōtiki is a small rural town in the Eastern Bay of Plenty with a large Māori population.
The town also has one of the largest youth populations, by percentage, in New
Zealand. The aim of this research was to look at the rural community of Ōpōtiki and to
understand the significant factors behind the success of rangatahi Māori (Māori youth)
from this particular community. This research provides knowledge that will inform the
whole community about nurturing these unique success factors so that they can
contribute to a greater success rate of rangatahi within the community. The research is
presented in two parts: a written component and an artefact - a 30-minute
documentary about rangatahi Māori who grew up in Ōpōtiki.
The written section of this thesis answers the question: “What factors lead to the
success of rangatahi Māori from Ōpōtiki?” It also explores te ao Māori (the Māori
world-view) in relation to the methodology. Finally, it provides an in-depth analysis of
the documentary findings relating to the research question.
The documentary (artefact) involved a select number of participants from various
backgrounds - teachers, youth workers, and wider community members - in one-onone
interviews. These were then compiled and edited to develop the documentary.
The interview questions were designed to examine the variables that contributed to
the achievements of rangatahi Māori from Ōpōtiki, and the visual component provides
an insight into their lives and what they, themselves, believe has made them
successful.
This thesis critically examines the success factors in the lives of rangatahi Māori who
have been acknowledged as high achievers in their respective fields
Please Be Patient: Investigating the Representation of Autism in Media
No full textThe short film, Please Be Patient, and its accompanying exegesis aims to challenge the limited portrayal of autism spectrum disorder (ASD) in modern media. Throughout the film, we follow an unnamed autistic character trying to understand why they find themselves so frustrated upon finding a badge reading: “I’m autistic, please be patient.”. In a non-linear narrative structure, their train of thought is related to us by satirically investigating the central question ‘why should we be patient with autistic people?’. This accompanying exegesis will provide a framework for how to engage with and read the film. In Chapter 1, I provide an autoethnographic account of my personal experience with autism and the importance of understanding intersectionality in research and representation. In Chapter 2, I will investigate the discursive frames through which autism can be viewed (Thibault, 2014), namely the interaction between medical and entertainment media. Lastly, after viewing the film, Please Be Patient, Chapter 3 discusses my creative process through the embodied research method and exposes how my autistic viewpoint has influenced my creative choices in the film’s fruition. My aim in undertaking this research is to provide insight into why autistic people should be a staple in the creation of autistic representation
Mirroring Hou Hsiao-Hsien: A Creative Practice Research Exploring the Possibility to Visualize Chinese-New Zealand Diasporic Experience With Traditional Chinese Artistic Aesthetics
No full text‘Mirroring Hou Hsiao-Hsien explores a new aesthetic perspective in Chinese-Zealand diasporic films and filmmaking, through the application and interpretation of Chinese-Taiwanese director Hou Hsiao-Hsien’s film aesthetics and techniques. Opening with an investigation of the creative strategy in Hou’s films, this research links Hou’s aesthetic style to traditional Chinese artistic concepts Xie-Shi (realism) and Yi-Jing (artistic conception), sourced from Chinese ancient landscape painting and poetry. Through theoretical investigations and practical filmmaking, this research explores ways to integrate traditional Chinese aesthetics into cinematic strategies used to represent a Chinese-New Zealander’s diasporic experiences on screen.
This creative practice research project offers a different perspective on diasporic filmmaking studies through the investigation of creative possibilities to represent a Chinese-New Zealand diasporic experience via a fusion of traditional Chinese aesthetics and New Zealand’s geographical and cultural context. It intends to propose a new cross-cultural aesthetic that challenges hegemonic Hollywood film language and narrative norms, aiming to inspire Asian New Zealand filmmakers to start their investigation of their cultural roots and artistic exploration
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Tū ake ngā uri o Muriwai: Understanding Key Factors that Lead to the Success of Rangatahi Māori from Ōpōtiki
No full textŌpōtiki is a small rural town in the Eastern Bay of Plenty with a large Māori population. The town also has one of the largest youth populations, by percentage, in New Zealand. The aim of this research was to look at the rural community of Ōpōtiki and to understand the significant factors behind the success of rangatahi Māori (Māori youth) from this particular community. This research provides knowledge that will inform the whole community about nurturing these unique success factors so that they can contribute to a greater success rate of rangatahi within the community. The research is presented in two parts: a written component and an artefact - a 30-minute documentary about rangatahi Māori who grew up in Ōpōtiki.
The written section of this thesis answers the question: “What factors lead to the success of rangatahi Māori from Ōpōtiki?” It also explores te ao Māori (the Māori world-view) in relation to the methodology. Finally, it provides an in-depth analysis of the documentary findings relating to the research question.
The documentary (artefact) involved a select number of participants from various backgrounds - teachers, youth workers, and wider community members - in one-on-one interviews. These were then compiled and edited to develop the documentary.
The interview questions were designed to examine the variables that contributed to the achievements of rangatahi Māori from Ōpōtiki, and the visual component provides an insight into their lives and what they, themselves, believe has made them successful.
This thesis critically examines the success factors in the lives of rangatahi Māori who have been acknowledged as high achievers in their respective fields.
Related thesis artefact:
Ōpōtiki Su-Peer Heroes https://youtu.be/YdgCc0Cjvk
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