film thesis projects

A Night Celebrating Golden Thesis Film Projects in Hollywood

The inaugural Golden Thesis Film Festival and awards ceremony celebrated thesis projects from the Film Production Program

The first annual Golden Thesis Awards Ceremony is an alumni and student showcase of 2020-2022 thesis and original short films with a writer, producer, director, cast or theme featuring a diverse voice. This includes creatives of all backgrounds, including ethnicity, culture, gender identity and members of the LGBTQ+ community. The festival is organized by the Career Development and Film Departments with the purpose of championing dynamic and diverse storytellers who have or are currently studying at The L.A. Film School. In its first year, the festival received 49 original shorts or thesis film submissions from students and alumni. Watch the full ceremony livestream to hear more about how students and alumni created their award-winning films.

Congrats to the 2022 Festival Winners in the Gold, Silver and Bronze Categories!

Golden thesis winners.

• “The Only Fan” directed by Marteverick Shears
• “A Final Girl” directed by Gabriel Palomino
• “Promenade Sentimental” directed by Nicolas Danoviz

Silver Thesis Winners

• “Zombellini” directed by Dave Flores
• “Suono” directed by Laurd Milian
• “To The Moon” directed by Michael Gene Conti

Bronze Thesis Winners

• “The Heart of War” directed by Shaka Smith
• “Remember” directed by Daniel J Adams
• “CATA” directed by Carlo Tonda

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Film Research Paper Topics: Tips & Ideas to Use as Inspiration

Updated 01 Jul 2024

The most challenging part of writing a research paper might be picking the right topic. Choosing one that’s interesting, compelling, and thought-provoking is critical for engaging the reader and showcasing your knowledge.

Thanks to decades of moviemaking, there are tons of film research paper topics to choose from, so it can be a bit overwhelming to lock in on a single one.

That’s why we’ve put together a comprehensive list of ideas that you can use for inspiration. Let’s dive in.

Most Interesting Film Essay Topics

When brainstorming a topic for your film research paper, it’s vital to pick something you’re passionate about. That’s how you’ll be able to put your best foot forward.

These are some of the most exciting topics that are certain to summon your inspiration muse.

• The Evolution of Female Protagonists in Action Films
• The Impact of Global Cinema on Hollywood
• Analyzing the Auteur Theory in Modern Cinema
• The Role of Soundtracks in Defining Movie Genres
• The Influence of Neo-Noir Aesthetics on Contemporary Filmmaking
• Virtual Reality in Cinema: A New Frontier or a Passing Trend?
• The Representation of Artificial Intelligence in Science Fiction Movies
• Cultural Stereotypes and Their Perpetuation in Animated Films
• The Psychological Effects of Horror Films on Audiences
• The Renaissance of Musical Films in the 21st Century
• Exploring the Cinematic Portrayals of Historical Events
• The Rise of Independent Films in the Streaming Era
• Color Theory in Film: How Palette Choices Affect Emotion
• The Depiction of Mental Illness in Modern Cinema
• The Use of Long Takes and Their Impact on Storytelling
• The Evolution of Superhero Movies: From Niche to Mainstream
• The Significance of Costume Design in Character Development
• Analyzing the Shift from Film to Digital Cinematography
• The Role of Propaganda Films in Shaping Public Opinion
• The Ethics of Documentary Filmmaking: Truth vs. Narrative
• The Influence of French New Wave on Contemporary Directors
• The Portrayal of LGBTQ+ Characters in Mainstream Cinema
• The Cultural Impact of Biographical Films
• The Art of the Film Sequel: Expansion or Exploitation?
• Cinema as a Tool for Social Change: Case Studies
• The Representation of Race and Ethnicity in Hollywood
• The Phenomenon of Cult Films and Their Dedicated Fanbases
• The Impact of Censorship on Creative Freedom in Film
• Exploring the Use of Non-Linear Narratives in Storytelling
• The Role of Film Festivals in Discovering New Talent
• The Challenges and Triumphs of Adapting Literature into Film
• The Dynamics of On-Screen Chemistry: What Makes It Work?
• The Influence of Cinema on Fashion Trends
• The Significance of Opening and Closing Shots in Films
• The Evolution of the Teen Movie Genre
• The Role of Archetypes in Film Genres
• The Impact of Global Locations on Film Production and Storytelling
• The Use of Silence as a Narrative Tool in Cinema
• The Portrayal of Villainy and Moral Ambiguity in Film
• The Legacy of Silent Films and Their Influence on Modern Cinema
• The Depiction of Space and Time Travel in Science Fiction Movies
• The Art and Technique of Film Editing: Creating Rhythm and Pace
• The Representation of War in Cinema: Glory vs. Horror
• The Influence of Social Media on Film Marketing and Audience Engagement
• The Role of Animation in Adult Storytelling
• The Impact of 3D Technology on the Viewer's Experience
• The Portrayal of Relationships and Love in Romantic Comedies
• The Use of Allegory and Symbolism in Film to Reflect Society
• The Challenges of Filming in Extreme Conditions
• The Future of Cinema in the Age of Streaming Services

Top Film History Research Paper Topics

The history of cinema is vast, so there are countless film history research topics that can captivate your reader. These are some of the most relevant you can use.

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• The Birth of Cinema: Exploring the Lumière Brothers' Contribution to Film
• George Méliès and the Invention of Narrative Cinema
• The Evolution of Silent Film Techniques and Their Modern Legacy
• Charlie Chaplin: The Impact of The Tramp on Global Cinema
• The Role of Women in Early Cinema: Pioneers Behind and in Front of the Camera
• The Transition from Silent to Sound Films: Technological and Artistic Challenges
• Expressionism in German Cinema: A Study of Visual Style and Its Influence
• The Rise and Fall of the Studio System in the Silent Era
• Early Animation Techniques: From Gertie the Dinosaur to Steamboat Willie
• Cross-Cultural Influences: How Early Cinema Traveled Across Continents
• The Hays Code: Censorship and Its Impact on Hollywood Storytelling
• Technicolor Dreams: The Introduction of Color in Hollywood Cinema
• Film Noir: Origins, Characteristics, and Key Figures
• The McCarthy Era: Blacklisting and Its Effects on Hollywood
• The Rise of the Director: Auteur Theory and Its Proponents
• New Hollywood: The 1970s Renaissance and Its Lasting Influence
• The Blockbuster Era: Jaws, Star Wars, and the New Business of Cinema
• Independent Cinema Movement: Breaking Away from Hollywood Norms
• The Digital Revolution: CGI and the Transformation of Film Production
• Global Cinema: The Influence of Hollywood on World Cinema and Vice Versa

Research Paper Topics on Music in Films

Music in films can tell a captivating story, evoke a world of emotions, and create a unique experience that lingers on long after you’ve watched the end credits. It often becomes as iconic as the films themselves, especially when it comes to musicals. Here are some captivating film research paper topics on music.

• The Evolution of Film Scores: From Silent Cinema to the Digital Age
• The Role of Music in Establishing Film Genres
• Iconic Film Composers: The Musical Styles of John Williams and Ennio Morricone
• The Impact of Jazz on Film Noir Soundtracks
• Musical Motifs in Cinema: Creating Character and Narrative Depth
• The Influence of Classical Music on Modern Film Scores
• Diegetic vs. Non-Diegetic Music: Shaping Viewer Perception
• The Use of Popular Music in Films: Cultural Context and Impact
• Music as a Narrative Device in Animated Films
• The Psychological Effects of Film Music on Audiences
• The Art of the Film Musical: Evolution from Stage to Screen
• World Music in Cinema: Exploring Cross-Cultural Soundscapes
• The Rise of the Film Soundtrack: From Background to Bestseller
• The Function of Silence: When the Absence of Music Tells the Story
• The Process of Scoring for Film: Collaboration Between Directors and Composers
• Adapting Opera and Ballet for the Film Medium
• Horror Film Scores: Techniques for Creating Tension and Fear
• The Legacy of Disney's Musical Films: Shaping Generations
• Music Video Aesthetics in Narrative Filmmaking
• The Role of Music in Documentary Films: Enhancing Realism and Emotion

Riveting Horror Film Research Paper Topics

There are quite a few scary and suspenseful horror movies that can keep viewers at the edge of their seats. Analyzing the overall genre or some of the greatest directors’ masterpieces and techniques is certain to enthrall your reader. Here are some gripping horror film research paper topics you can use.

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• The Evolution of Horror Cinema: From Gothic to Modern Psychological Thrillers
• Monsters and Myths: Cultural Significance of Horror Film Antagonists
• The Impact of German Expressionism on American Horror Films
• Social Fears and Horror Films: Reflecting Societal Anxieties Through Cinema
• The Final Girl Trope: Gender Dynamics in Slasher Films
• Horror and Comedy: Analyzing the Success of Horror-Comedy Hybrids
• The Rise of Found Footage: Authenticity and Fear in a Digital Age
• Censorship in Horror: The Battle Between Artistic Freedom and Social Responsibility
• The Influence of Literature on Horror Cinema: From Mary Shelley to Stephen King
• Horror Film Festivals: Cultivating Communities and Defining the Genre
• Sound Design in Horror Films: Crafting Fear with Audio
• Lighting and Color in Horror Cinema: Setting the Mood Without a Word
• The Art of Suspense: Building Tension in Horror Films
• Practical Effects vs. CGI in Horror: Preserving the Tangibility of Terror
• The Role of Setting: Isolated Cabins and Urban Nightmares in Horror Films
• Auteur Theory in Horror: The Signature Styles of Hitchcock, Carpenter, and Craven
• The Psychology of Jump Scares: Manipulating the Viewer's Anticipation and Fear
• Horror Film Sequels and Remakes: Innovation or Exploitation?
• The Use of First-Person Perspective in Horror Films: Immersion and Disorientation
• Horror Across Cultures: How Different Societies Scare Their Audiences

Compelling Monster Essay Topics

Movie monsters are often terrifying fictional creatures, but they sometimes represent human nature and our deepest fears as well. Let’s explore some of the more fascinating film essay topics on monsters.

• The Evolution of the Vampire Myth in Literature and Popular Culture
• Monsters as Metaphors: Analyzing the Symbolism Behind Literary Monsters
• Frankenstein's Monster: A Reflection on Humanity and Creator Responsibility
• The Role of Dragons in Eastern vs. Western Mythology
• Hybrid Monsters in Mythology: Exploring the Fear of the Unknown
• Duality of Werewolves: Exploring the Beast Within Human Nature
• The Influence of Greek Mythology's Monsters on Modern Fantasy Literature
• Grendel in "Beowulf": Monster as a Social Outcast
• The Loch Ness Monster: Myth, Hoax, or Unexplained Phenomenon?
• Monsters in Children's Literature: Fears, Morals, and Imagination
• The Psychology of Horror: Why Do We Enjoy Being Scared by Movie Monsters?
• Zombies as a Cultural Phenomenon: From Haitian Folklore to Global Apocalypse Obsession
• The Representation of Artificial Intelligence as Monstrous in Science Fiction
• Kaiju Films: The Appeal of Giant Monsters in Japanese Cinema and Beyond
• The Monster's Perspective: Sympathy for the Devil in Modern Media
• Aliens and the Fear of Invasion: Analyzing Extraterrestrial Monsters in Film
• The Role of Monsters in Video Games: Beyond the Antagonist
• Body Horror: The Monstrosity of the Human Form Transformed
• The Slasher Villain: Serial Killers as Monsters in Horror Films
• Monsters and Heroes: The Thin Line Between Antagonist and Protagonist in Comic Books

How to Pick a Good Topic for a Film Research Paper

If none of these film research paper topics have inspired you to write your paper, here’s what you can do to find new ideas:

• Make a list of your favorite films or filmmakers - Movies you’re passionate about or filmmakers you admire the most are a great place to start.
• Choose a specific historical period - If you’re interested in a specific period in film history, you can analyze that time’s movies, themes, techniques, etc.
• Pick a film genre - Focusing on a specific genre from the get-go might help you narrow down your list of ideas.
• Research different ideas - The more ideas you research, the higher your chances of finding the right topic. You should conduct thorough research on all the ideas, exploring the available literature, media platforms, published research papers, and other credible sources.
• Come up with a specific topic - Armed with relevant information, come up with a specific topic that interests you the most. Make sure it isn’t too broad so that you can go into detail and provide real value.
• Narrow down your focus - Narrowing down your topic to one or two ideas is key to writing a high-quality paper. Make sure it’s not too narrow so that you can keep the reader engaged.

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Home > Dissertations and Theses > Film and Media Studies (MA) Theses

Film and Media Studies (MA) Theses

Below is a selection of dissertations from the Film and Media Studies program in Dodge College of Film and Media Arts that have been voluntarily included in Chapman University Digital Commons. Additional dissertations from years prior to 2019 are available through the Leatherby Libraries' print collection or in Proquest's Dissertations and Theses database.

Theses from 2024 2024

Intolerable Masculinity: Screening Men's Shame and Embracing Curious Futures , Cole Clark

Embracing the Wound of Contingency: Transcribing Reality in Supernatural Horror and Found Footage , Mason Dax Dickerson

Bluey And Adult Fandom: The Importance Of Play In Culture , Olivia C. Gerzabek

Independent Visions of Marginal America: Reimagining a Nation Through Outsiders, Searching, and Non-Arrival , Z Evan Long

From Film Sets to Front Lines and Back Again: Reinventing Star Image in Post-World War II Hollywood , Livia Belen Lozoya

Animating Gender: Conflicting Narrative and Character Design in Gravity Falls , Laine Marshall

Real to Reel: The "Third Gender" Narratives and Queer Identity in Rituparno Ghosh's Bengali Films , Manjima Tarafdar

Cinema's Poetic Function: Creating an Amorous Distance , William Yonts

Theses from 2023 2023

Desire for Transformation: The Actualization of Self-identity Through Change In the Films Raw and Titane , Owen Bradford

The Rape-Revenge Genre in the Digital Age of Heightened Visibility: The Rise of Female Storytellers and Fourth-Wave Feminism , Marynell Dethero

The Audrey Hepburn Image: Stardom, Gendered Authorship, and Creative Agency , Livi Edmonson

How Donald Trump and the 2016 Presidential Election Eclipsed Frank Underwood’s Election in ‘House of Cards’ , Charna Flam

Balancing Multiple Worlds: The Multiverse and the Fractured Asian American Experience in Everything Everywhere All at Once (2022) , Austin Kang

The Disintegration of Marriage in Ryusuke Hamaguchi’s Happy Hour (2015) , Afra Nariman

What Are You Crying For?: Renegotiating White Masculine Hegemony through Melodramatic Excess in the 1990s Films of Tom Hanks , Bryce Thompson

“Let’s Do The Time Warp, Again!” The Rocky Horror Picture Show as Hysterical Theatre , Frances Wendorf

Theses from 2021 2021

(De/Re)Constructing ChicanX/a/o Cinema: Liminality, Cultural Hyphenation, and Psychic Borderlands in Real Women Have Curves and Mosquita y Mari , Diana Alanis

Obsessed With the Image: Vulgar Auteurism and Post-Cinematic Affect in the Late Films of Tony Scott , Ethan Cartwright

The Ben-Hur Franchise and the Rise of Blockbuster Hollywood , Michael Chian

Cinematic Palimpsests: Polysemy and In(ter)dependency in the Spectator Experience , Lyric Luedke

Beyond the Image: Marilyn Monroe, Shelley Winters, and The Method , Emily K. Oliver

Layer Cake: Post-Cinematic Aesthetics and the “Social Justice Impulse” in Kaneza Schaal's Jack & , Amber M. Power

Re-animating Post-Digital Cinema: [Animated] Fluidity and Hybrid Aesthetics in Tomm Moore’s Celtic Trilogy , Thomas James Schwaiger

Curation of the Video Art Exhibition in the Museum , Kamla Thurtle

Pennies from Heaven: Death and the Afterlife in World War II Fantasy Films , Elise Williamson

Theses from 2020 2020

Unreal Reality: Post-socialist China's Massive Infrastructural Agenda in Jia Zhangke's "Three Gorges Films" , Weiting Liu

Smell as Self-identity: Capitalist Ideology and Olfactory Imagination in Das Parfum’s Multimedia Storytelling , Xinrong Liu

Revitalizing Hollywood Stardom: Classical Star Power and Enduring Marketability at Warner Bros. in the Beginning of New Hollywood , Tham Singpatanakul

Bong Joon-Ho’s Transnational Challenge To Eurocentrism , Lisa - Marie Spaethen

Theses from 2019 2019

Stardom, Spectacle, Show, and Salability: United Artists and the Founding of the Hollywood Blockbuster Model , Jessica Johnson

Iranian Cinema in Transition: Relative Truth and Morality in Asghar Farhadi’s Films , Mazyar Mahdavifar

AI Film Aesthetics: A Construction of a New Media Identity for AI Films , Priya Parikh

A Cauldron of Chaos and Cultivation: Rediscovering Disney Animation of the 1980s , Thomas Price

Inflicted Viewing: Examining Moral Masochism, Empathy, and the Frustration of Trauma Cinema , Kira Smith

Representative Biodiversity: The Ecosystem of Cartoon Network , Carl Suby

Bending Family Friendly into Fear: Nostalgia, Minstrelsy and Horror in Bendy and the Ink Machine , Isabelle Williams

Theses from 2014 2014

The Criterion of Quality: A Paratextual Analysis of the Criterion Collection in the Age of Digital Distribution , Jonathan Charles Hyatt

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Making film independently: creating a short film, description:.

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University of Notre Dame

Department of Film, Television, and Theatre

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Thesis projects

Writing a senior thesis in FTT was one of the best decisions I could have made while at Notre Dame. My experience affirmed my passion for film and media studies, particularly textual analysis and academic writing. I was able to use a portion of my thesis as the writing sample for my graduate school applications, ultimately leading to a fully-funded offer with the University of Southern California’s Cinema and Media Studies MA program. — Eileen DiPofi '20

The FTT Senior Thesis Program enables you to undertake a capstone project of your choice while working closely with a faculty advisor across the course of your final academic year. You can write a critical analysis or historical study related to film, TV, or theatre; produce a short film; undertake a screenwriting or playwriting project; invent a digital media resource; or explore any high-level FTT project that you can imagine. 

Students major in FTT because they love film, television, and theatre. Completing a senior thesis gives you the opportunity to actualize that passion. A senior thesis can enable you to explore personal interests and advance career goals. Many of our thesis students have also received grants from ISLA, CUSE, the Liu Institute, the Kellogg and Kroc Institutes, and the Nanovic Institute for European Studies to support travel and research. (See list of funding opportunities below.)

Please feel free to talk about any questions or ideas you have with Professor Olivier Morel , director of the Senior Thesis Program, or with a faculty member with whom you would like to work.

How and when to get started

If you are an FTT major interested in undertaking a senior thesis, apply in spring of your junior year to complete the two-semester thesis project during your senior year. Applications are due April 1 of your junior year. You are strongly encouraged to complete advanced classes in the area in which you want to work before applying.

A senior thesis requires a significant commitment of time and energy. You will take additional coursework on top of the 30 hours required for the major. During the fall semester of your senior year, you will register for a one-credit senior thesis workshop and in the fall and spring, you will also register for three credits of “Thesis and Undergrad Research”  or other classes recommended by your advisors.

Upon completion of the thesis project and all requirements in your senior year, you will be eligible to receive the Honors designation upon graduation, provided your project is approved for that designation by the FTT Thesis & Honors Committee.

Senior Thesis Guidelines 2024 (PDF)

FTT Thesis - Senior Year Plan (PDF)

2024 Senior Thesis Presentations (Slideshow)

Senior Thesis Info Session Recording (February 2024)

2024 Senior Thesis Informational Slideshow

Writing my senior thesis at Notre Dame was my first chance to undertake a project that was entirely my own from conception to production with the amazing support and guidance of FTT faculty. It allowed me to pursue something I was intensely passionate about, work closely with my professors and my peers, and develop my voice as a writer — all of which prepared me beyond any single course to enter the next step towards my professional life with confidence and enthusiasm.   — Caroline Lezny '20, currently pursuing an MFA

Funding Opportunities

Undergraduate research opportunity program (urop).

Facilitated by the Institute for Scholarship in the Liberal Arts, the  Undergraduate Research and Teaching Opportunity Program (UROP)  is designed to expose undergraduate students to the rigors and rewards of scholarship. Awards include summer fellowship grants up to $4500 and research and materials grants of $1750.

Flatley Center for Undergraduate Scholarly Engagement Research Grants

The  Flatley Center for Undergraduate Scholarly Engagement  offers a variety of grants for many different kinds of undergraduate research. CUSE can help students develop and find funding for many different kinds of research to help make the most of their Notre Dame experience and expand the intellectual life at the University.

Kellogg/Kroc Undergraduate Research Grants

The Kellogg and Kroc Institutes offer  summer research grants  for undergraduate students at Notre Dame. The grants are intended for juniors whose interests include a clear international dimension related to the Kellogg Institute's themes or the themes of the Kroc Institute. Grants up to $5,000 each will be awarded for research abroad or, if demonstrably appropriate, in the United States. 

Liu Institute for Asia & Asian Studies

The Liu Institute offers funding to support undergraduate  student research  and  language study . 

Nanovic Institute for European Studies

The Nanovic Institute supports undergraduate research with independent travel and research grants, internship and service grants, language study grants, and a new research resources grant to assist students with preliminary research expenses. Projects must articulate a clear connection to Europe and European affairs. Information on available grants can be found on the Nanovic Institute for European Studies' webpage.

Department of Film & Media UC Berkeley

Honors thesis.

The Honors Thesis is typically a written manuscript that presents a piece of original scholarship conducted under the guidance of a faculty mentor. The thesis may also take the form of a hybrid project incorporating written scholarship as well as creative elements, including film and media. You should regard your thesis as the culmination of your course of undergraduate study, in which you bring to bear the scholarly and creative skills you have developed during your time at UC Berkeley.  

The Honors Thesis will be expected to demonstrate critical thinking, a mastery of disciplinary material, and the communication of complex ideas. The normal length of a thesis is 40-60 double-spaced pages .  It should consist of two or more chapters, with a table of contents and a comprehensive bibliography. The supervisor of the thesis must be a ladder faculty member, normally chosen from among the faculty of Film & Media.

The process for writing the Honors Thesis begins in the second semester of your third year or the first semester of your fourth year, during which you should develop a detailed proposal and a bibliography. Students are expected to take one of three upper-level writing courses in Film & Media: FILM 194: Advanced Film Writing: Words and the Moving Image or FILM 190: Capstone Seminar or FILM 193: Intermediate Film Writing .  (An equivalent course from another department can substitute with approval of the faculty undergraduate advisor.)  In one of these courses you will develop your creative or research project, write a thesis proposal, and secure a thesis advisor who will approve your project.  

The Film & Media Dept will also consider applications for a production-based Honors Thesis that has both a creative media element and a substantial written element addressing the historical and theoretical context for your project and/or your creative process. Students are encouraged to take the Intermediate Moving Image Production (FILM 185) and Advanced Production (FILM 186 ) sequence for developing a production-based thesis.  FILM 186 can be taken concurrently with FILM H-195 Honors Thesis in the student’s final semester. The length and the form of a production-based thesis will be developed in consultation with the student’s faculty supervisor.

Applications and Proposals for the Honors Thesis: 

Eligibility : You must have achieved fourth-year status with at least a 3.3 GPA in all UC Berkeley coursework and a 3.5 GPA in the major. Your course load for the thesis semester will be limited to four courses, including your H-195 course, in order to ensure completion of the project.

Proposals : Your proposal will consist of a 5-to-12-page prospectus detailing your research for the thesis and the scope of your project. It should include a thesis statement, a statement of your methodology, a chapter-by-chapter breakdown, a bibliography, and a timeline for completion. For a production-based thesis, you will submit a synopsis or script or detailed outline for the project with your production plan and your timeline for completion. The proposal must be approved by your faculty supervisor and the Film & Media Faculty Undergraduate Advisor by the final day of your penultimate semester.

Enrollment : After securing these necessary approvals, you must enroll in FILM H-195 Honors Thesis Independent Study , in which you will complete your project.  You are required to meet with your faculty supervisor a minimum of 3-4 times during the semester. A draft of the thesis will be expected by early April, to allow time for editing and revision. The completed thesis will be submitted to your faculty supervisor by early May at the latest. The thesis should be of sufficient depth and quality to merit an “A” range grade.

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7 Painful Lessons Learned While Making My Thesis Film

There's no better classroom than being on set..

It was my last semester in film school but our professors had been preparing us for almost a year for the biggest project we had to make so far. I had written the script for my thesis film almost a year and a half before that time. It was stored away in the depths of my desktop for a while and I pulled it out for our thesis screenwriting class. The 13-minute movie  The Funniest Person Ever  is about a struggling stand up comedian who makes a wish to be...you guessed it...the funniest person ever. Her wish is granted but she soon finds out it's not all its cracked up to be.

The thought “Damn, this is going to be hard but exciting to make“ came about in that same screenwriting class. So that’s where my first piece of advice comes in. I hope you can learn from my lessons below to make your thesis film dreams come true.

 Hearing your own script read aloud by others will shatter the tunnel vision.

1. Don't be afraid of rewrites

All screenwriters know about rewrites. Doing it is dreadful but it helped me weed out the flaws in my script. At a certain point, I was actually excited to do another rewrite in the hopes of making my script better. I never rewrote the entire script from scratch. I just pulled out scenes and replaced them with more empathetic ones. Then, one of my professors brought up table reads. The first round was with my fellow filmmakers. I received great feedback, and did yet another rewrite. Next up was another table read but with actual actors. So I brought in my comedy friends and I was in awe of how well it sounded with a few flaws here and there in the screenplay. Hearing your own script read aloud by others will shatter the tunnel vision, and open your eyes and mind to new possible directions for your script.

2. Record your table reads

My professor introduced the great idea of recording our table reads to me. The table read can come home with you for further analysis if you record it using video or a voice note feature on your smartphone. I only did this once but it did help for another round of rewriting.

3. Reverse the roles

One of my early struggles in the pre-production of my thesis film was casting. My lead role was a male comedian. My lead actor was lacking interest in the project so I reached out to another person I was acquainted with, a young and hilarious lady known on Instagram as Dee Nasty . I was able to get her phone number from my previous lead actor, so I pitched her the idea and she agreed to play the lead role. The male lead was now a female. Best decision I made simply because her skills as a comedienne and actress are amazing and, quite frankly, she made my film funnier. Little did I know that my new lead would bring me issues later in production. (Dramatic music plays)

4. How to get extras and clone them

I needed about 30 extras for my film. The comedy club scenes were going to be the hardest scenes to film. I had to make one location look like four, with a large number of actors in the room. I figured the best way to get more people was to ask people who were already interested in me or my project. I asked the extras to bring friends interested in acting. I asked friends who like acting to come be an extra themselves. I also posted an ad on casting websites. Despite all my outreach, only about 10 extras showed up, which was 20 less than my desired goal. Problematic. I resolved this by making the same person look like multiple people.  I asked my actors to bring an extra piece of clothing, hat, hoodie or jacket and I had them wear the hat or hoodie and grabbed shots from behind. They looked like a whole new group of people.

5. Adapt to the situation

The greatest tool I learned as a filmmaker is to adapt, quickly. Luckily the program director of my film school at City College had invited a filmmaker a few days before shooting who brought up that exact same piece of advice. A man who has made more than five feature films, well-funded, huge cast, big names; he told us “when you're on set and a few pieces of your puzzle are missing, you make it work no matter what, adapt.”

I had a small group of extras, I had one comedy club, and the support of my cousin and friends. I adapted and made it happen. I had promised lunch to all the actors during the comedy club scenes, but I was running out of time. So we pushed through and I gave everyone a $10 stipend. At that point, I was glad 30 people didn't show up.

 I was forced to shoot scenes weeks apart.

6. Use pictures to maintain continuity

My lead actress's career was taking off. I was forced to shoot scenes weeks apart. At one point, there was a month of inactivity during my production phase. I was running out of time and I had to make this film to graduate. I made it, but where I slacked off was on continuity. This is not recommended. Don’t laugh when I say this, but it was the hair. Dee’s hair was always straight in the movie which made it easier, but the differences were the placing of the bun and ponytail, a few strands of hair, and some jewelry. In one shot, her ponytail is higher up with no necklace; in the next it's lower and she’s wearing a necklace. Small details count. Take pictures and write down key aspects of the wardrobe and hair.

7. Use your crew

I love the process and I love the challenge of filmmaking, but I learned the hard way not to be a one-person army. I felt like the weight of world was on my shoulders. I needed an assistant director, a production assistant, and a script supervisor. My friend John and my cousin Erick took on some of these roles on set when they were available. But I learned that I needed more people on the crew side. My instinct was that, the less crew you have, the easier it is to have a grasp of everything. Erick made me aware that I can’t wear all those hats. I don’t even like hats, but you know what I mean. Build a tribe, so that you can film the movie.

What was the best lesson you learned making your thesis film? Let us know in the comments.

Follow Romel Rodriguez on  instagram   @Romelcreates

The Best Free Screenwriting Software Options

Script writing software can be pricey and confusing. how do you know which screenwriting software is right for you let's break down some popular options together. .

So you want to be a professional screenwriter, but you’re struggling over which scriptwriting software to use? Unfortunately, no writing software will make your writing better, but some might be more tailored toward your needs on the page.

There are lots of software options in the world of movies and lots of those options are good for various reasons. Script writers have to choose software wisely.

In my decade of writing scripts , I’ve used each of the screenwriting programs imaginable. I’ll take you through the eight best scriptwriting software solutions I’ve found on the market, and we’ll list the pros and cons of each.

Let’s smash cut to the details on which script writing software is the best!

Screenwriting Software for Beginning Scriptwriters

There are a handful of free scriptwriting software options, but which is the best free software? We'll give you the options with some pros and cons for each, and hopefully, you'll find the best fit for you and your writing style. Script writing needs to be second nature, so pick a program that makes you feel comfortable.

Free scriptwriting software allows you to test your skills without becoming fiscally invested in the medium. So what are your best screenwriting software free options?

If you're here to learn how to be a screenwriter, you've come to the right place. Unlike other aspects of filmmaking, screenwriting is free. Your original ideas are the ultimate ticket, and all you have to do is get them onto the page and in the proper format to start to show them to people.

But wait a minute, you need software to get a script looking sharp and ready for executives...software that could cost upwards of a few hundred dollars. That's some bullshit.

The Best Free Screenwriting Software Solutions

This is the screenwriting software used by Craig Mazin, where he put all the Chernobyl characters into the fight of their lives. It's an efficient software that's less buggy than the competition and offers professional standards at every turn. It works for Mac, Windows, Linux, among other formats.

What Comes Free?

Right now, the demo version is free to download. If you like it and conquer writing short films within it, you can consider upgrading for the price of $79.95.

2. WriterDuet

Recently updated with offline writing capabilities, this software makes it easy to collaborate with a partner. This is a pared-down version of the software that has fewer frills, more practical applications like revisions and outlining.

You get your first three screenplays on here for free. That's pretty great. After that, you're paying $11.99 a month or $89 a year to write.

3. Kit Scenarist

Welcome to the open-source screenwriting software solution. The nice part is that the program can export scripts in the formats PDF, FDX, Fountain and even DOCX, so it works to industry standards for scriptwriting software.

Everything. There is no paid version of this software. You can totally donate! But they wanted to have something everyone can use for free and they accomplished it.

Pros: You can map stories, use index cards, lots of available features in the free version.

Cons: This is still very much a beta program, so testing and bugs will be on-going. The payment version is a monthly service, which means that over the course of time you'll be paying way more than these other "one-time" purchase programs.

4. Highland

The brainchild of John August, this professional screenwriting application is used by lots of A-list writers seeking an alternative to Final Draft. Recently updated with revisions mode, it does everything you want in software with the stroke of one key. Still only available for Macs though.

There's a free demo that lets you produce pages, but the upgrade only costs $49.99. It exports to FDX, PDF, and is incredibly useful. It's one of my favorite tools because of how easy it makes writing your story within scriptwriting software.

This is a fully free screenwriting software solution. It doesn't have the frills, but if you just want to sit and write, this might be the application for you.

Everything. There's no paid upgrades here, just tools for writers trying to break into the industry.

6. Microsoft Word / Pages / Google Docs

Welcome to the beginner screenwriter’s crutch. Pages and Word come with your computer and they’re a great place to play around. If your aspiration is to become a professional screenwriter, then you have to be willing to put in the work. Before you learn script format, it’s best to just hang in there, work out dialogue, work on your voice on the page, and experiment. The screenwriting process can be arduous, dip your toes in the water here.

Pros : It usually comes free with your computer or Google account. There are no limits to what you can write, and you can learn the basics for telling your own story.

Cons : You’re not going to learn anything about format, it’s not for professional screenwriters, and there are limits to the formatting you can achieve on the page.

Okay, you’ve graduated past the options that comes with your computer. Now it’s time to learn to format and see your ideas hit the page. It’s exciting, but it’s probably not time to commit to paying lots of money for a program. Celtx is a great choice. Come here to learn.

Pros : It’s free, and free is fantastic. You can learn to format from the ground up. There are lots of paid upgrades that can help you budget and even shoot your first script.

Cons : It’s less intuitive than other programs. You can save different files, but most people in the industry aren’t looking for Celtx files when they want to budget and breakdown.

Options For Professional Screenwriters

Now that you know about the free options, let’s look at some screenwriting software that cost a little more than free…sometimes hundreds more…but they’re what you need to be a professional screenwriter

8. Final Draft

The company's tagline is “the industry standard,” and it’s impossible to ignore Final Draft’s relevance in the marketplace. Final Draft is used by lots of professional screenwriters, but it’s not the be all, end all. Still, it’s a useful tool with lots of templates for different formats, and using it does make you feel “cool.” I know it does. I remember the first time I used it and what I wrote and how "professional screenwriter-y" I felt.

Pros : The “.FDX” format is universally used by lots of professional productions. Revisions Mode makes it easy to track changes.

Cons : At almost $250, it’s easily the most expensive program on this list. Sure, lots of people use it, but it does have problems with crashing. Plus, upgrades sometimes phase out old files.

9. Movie Magic Screenwriter

This is a highly intuitive software that also works in tandem with one of the most popular budgeting software. Movie Magic is also reliable, easy to use, and consistently updates with useful tools. It’s popular in lots of writers’ rooms as well.

Pros : You can change the layout and interface to keep your screen clean and clear. You can collaborate with other writers in real time.

Cons : It’s not quite as popular as Final Draft, but it’s just as expensive.

10. Highland

It always makes sense to listen to the advice of a professional screenwriter. John August created an option that addresses most writers' wants: something simple that just lets the writing flow. All this for a low price. We covered the new update of Highland 2 , it has extensive templates and lots of great tools for screenwriters. There's a new update out in May of 2019, so we will keep you posted as they add more to their software and it becomes more intuitive.

Pros : You can customize the layout, use different colors, and export in lots of different formats. Plus, John is constantly creating updates that are drawn from what people suggest and need.

Cons : There aren’t a lot of bells and whistles, so if you need an option that also does budgeting and other accouterments, this isn’t the program for you.

11. Scrivener

There’s a good chance that you’re going to be writing other things besides screenplays. This software has templates for all kinds of writing. It’s specifically designed for authors and stretches toward film and television.

Pros : If you decide to step out into novels and novellas, this is a great choice. It can be used for a wide array of writing. Plus, it has an excellent outline feature.

Cons : Because it’s not strictly made for film and television, there are lots of gaps when it comes to cross-compatibility, general use, and practicality.

A screenwriting tool wthat has been gaining traction since its launch in 2020. Writers who use it find value in its offering of visualizing the structure of their screenplay seamlessly and the ability to write in multiple Indian languages. It's also free to use at the moment.

Right now, every part of this app os free.

What's Next? Writing Your Script!

As I mentioned in the opener, none of these programs is going to turn you into a professional screenwriter overnight. These can help you format and get your voice on the page, but the secret to success is writing and rewriting .

Next up, we suggest you take our free screenwriting seminar ! There are tons of screenwriting programs out there- ones that can help you learn how to become a writer, but ours is free, and you just have to follow along week by week and within 10 weeks you'll have a rough draft!

The truth is it doesn't matter what software you use to do your writing; only that your writing is good! Pick which program works best for you, and then use it A LOT. I’m excited to see what you will write next.

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College of Film and the Moving Image

Senior Theses

Film Studies Policy on Senior Theses:

Film Studies majors are not required to complete senior thesis projects to fulfill their major program of study. All majors are instead required to take a senior seminar on an advanced topic of study. However, large percentages of majors do opt for a senior thesis, which can take the form of a written history thesis, a screenplay, a 16mm film, a digital video, or a virtual filmmaking project. Senior theses provide majors with the opportunity to advance what they have learned in their previous coursework through an extended individual project. Film Studies maintains a rigorous approach to evaluating theses, but also provides close, one-on-one advising. Prizes exist for all forms of senior thesis work. A senior thesis is a privilege that we try to extend to all majors.

The Film Studies Department does not allow students to undertake a single film-related thesis that will be evaluated by faculty in both Film Studies and another department or that will be shared between departments in any way. Normally, students who double major should choose to embark on a thesis in Film Studies or on a separate, unrelated thesis in their other major. Since Film Studies does not require a senior thesis, and encourages double majors, we will in no way prevent a student from completing an entirely separate thesis in their other major. We contact majors in spring of their junior year for a detailed discussion regarding any aspect of their plans for a senior project.

Guidelines for 16mm, Digital Video, and Virtual Theses:

• All projects must be 12 minutes in length. Write a 12-minute screenplay.
• Crew members must all be students enrolled at Wesleyan. You may not use students from other schools, alumni, or professionals to work on your film.
• Shooting must be done within a 50-mile radius of campus.
• All projects must be completed by the date of the Senior Thesis Deadline. If you do not meet the Senior Thesis Deadline, you may not show your project at year’s end, and it will be up to your individual instructor to decide whether or not you will receive credit.

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Dissertation, Doctoral Project, and Thesis Information & Templates

Note: Forms required for the submission of theses and dissertations are available on the  Academic Forms  page.

Important Notes for Dissertation, Doctoral Project & Thesis Writers

• Information is available in Section IV.B.2 Research on Human Subjects of the  Graduate Bulletin   (from the  Resources and Policies page ).
• Additional information and forms are available on the   IRB website . Your IRB approval number must be included on the Thesis or Dissertation Proposal Form.
• Consult the  Guidelines for Dissertation, Doctoral Project and Thesis Writers  before beginning your thesis or dissertation.
• Download a template to assist with formatting your work. The templates are unlocked and can be edited (links to the template can be found in the “Submission Procedures” sections below).
• Check the Resources & Guidelines section of the ProQuest website for instructions on using the site. The Library has created a very informative series of  short videos  about the choices you must make on the ProQuest site.
• Additional information on copyright, publishing options and other topics is available on  Lauinger’s Scholarly Communication  website.
• More information about the requirements for dissertations, doctoral projects and theses can be found in the  Graduate Bulletin .

Submission of the Thesis, Doctoral Project or Dissertation

Information on the forms required leading up to a defense and also afterward appear on Submission of Thesis  and  Submission of Dissertation or Doctoral Project .

Download a Thesis / Doctoral Project / Dissertation Template

(for Master’s and Doctoral candidates) We recommend that you download a Thesis / Doctoral Project / Dissertation Template using Mozilla Firefox, Safari, or Google Chrome browsers. There are some reported issues for students trying to download using Internet Explorer. The download links are shown below:

• The combined  Master’s Thesis / Doctoral Project / Doctoral Dissertation Template  for MS-Word for Windows is available at: Thesis/Project/Dissertation Template-PC
• The  Master’s   Thesis Template  for Word for Mac is available at:  Thesis Template-MAC
• The  Doctoral Template  for Word for Mac is available at  Dissertation Template-MAC
• If you use the LaTeX markup language, you can download a ZIP file folder containing several template and style documents, as well as an extensive tutorial manual, at this link:  Thesis/Dissertation Template-LaTeX . An updated .sty file was uploaded in June 2020.

LaTeX users please note: These LaTeX template materials are provided for the use of those who are already proficient in the use of LaTeX. Neither the Graduate School nor the faculty who helped develop this template are able to provide support or training in the use of this specialty software.

Sing Sing Premiere – SXSW 2024 – Photo by Alejandra Sol Casas

Premiere Your Project at the 2025 SXSW Film & TV Festival

• First Deadline: Tuesday, August 27

By Olivia Cruz

News Film & TV

Film & TV Festival Apply to Participate

Each year, creatives from across the globe head to Austin, TX to premiere their feature film , short , TV or XR project in front of press, industry, and enthusiastic audiences. From risk-taking documentaries to innovative narratives and prestige TV series to provocative after-dark features, there's a screening category for every project!

Is your project ready for its big-screen debut? Submissions are now open for the SXSW Film & TV Festival through October 2! We're looking for the next class of Official Selections for SXSW 2025 from March 7–15.

2025 Film & TV Submissions

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• Feature Film (Narrative / Documentary)
• Short Film (Narrative / Documentary / Animated)
• XR Experience
• Music Video

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• Second Deadline: Tuesday, September 17
• Final Deadline: Wednesday, October 2

All deadlines end at 11:59pm PT. See each submission category for entry fees.

Explore the screening sections , premiere status and eligibility , and FAQs for a complete look at the Film & TV submissions process.

Film & TV Submissions

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Subscribe to Event Updates and the Film & TV Community Newsletter to stay in the SX know.

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Home » Blog » Dissertation » Topics » Film » Film Dissertation Topics (28 Examples) For Research Ideas

Film Dissertation Topics (28 Examples) For Research Ideas

Mark Jun 18, 2020 Jun 18, 2020 Film No Comments

The discipline of film studies in the world of academia is linked with the critical, historical, and theoretical approaches to films. A list of film dissertation topics is developed to help students in choosing the right topic for their thesis, research project, and dissertation. Choosing a topic from the list of film dissertation topics can […]

The discipline of film studies in the world of academia is linked with the critical, historical, and theoretical approaches to films. A list of film dissertation topics is developed to help students in choosing the right topic for their thesis, research project, and dissertation. Choosing a topic from the list of film dissertation topics can help in gaining a fascinating experience of research.

The project topics on films and research topics on films are developed to help students in finding a topic according to their area of interest. We have a team of highly experienced and professional writers who can help you in writing proposals and dissertations on your selected film dissertation topic.

List of Film dissertation topics

An analysis and comparison of the most popular genres of cinema in the world today.

To compare the commercial cinema and non-commercial cinema – A literature review.

Studying the role of marketing in the Chinese and Japanese film industry.

Examining the cinema and film culture in the Middle East.

An analysis of the perceptions of youngsters on horror films.

Exploring the concept of special effects in silent movies.

Creative translation and cultural transformation impact on the film adaptation.

How has the digital revolution influenced the film and cinema industry?

An empirical analysis of music and soundtracks in films.

Exploring the diverse film elements and pedagogical feasibilities for creative writing.

An analysis of film education as a multiplicity of practices.

Evaluating the evolution of music in the film – a comparative review.

Studying the evolution of urban film making.

How are technological advancements contributing to the film industry?

An analysis of the importance of a Character in a film.

Studying the landscape of Eastern film making.

Exploring the relationship between literature and film.

What are the special aspects of film making and how it influences the different people involved in the process?.

Why is violence in commercial cinema overrated?

An analysis of participatory film production a media practice.

Exploring the role of women in film – cultural impact on the changing discourse on gender representation in films.

A sentiment analysis on IMDb movie reviews using hybrid feature extraction model..

Irony, interpretation, and surface meanings in the film.

A literature review on the evolution of television and film industry.

Studying the art of handmade movie hoardings in Pakistan.

To study the effects of protectionism on film industry taking the case of Korea.

An analysis of Hollywood’s film localization efforts.

A comparative review of Hollywood with other countries film industry.

Topic With Mini-Proposal (Paid Service)

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Experiences, Installations, and Tools: IMA Low Res Graduates Showcase Works at Thesis '24 Show

Thursday, Aug 1, 2024

The Interactive Media Arts Low Residency (IMA Low Res) Master’s Program, jointly offered by NYU Tisch School of the Arts and NYU Shanghai, hosted its “Thesis ’24 Show” on June 20 and 21 at the NYU Shanghai New Bund Campus. This year’s show featured innovative and immersive projects by Class of 2024  from seven countries, highlighting students’ technical skills, artistic vision, and personal insights. The two-day show attracted NYU alumni, broader university community as well as professionals from the design, art, and technology fields.

Visitors are experiencing the interactive installations designed by the IMA Low Res Class of 2024.

Xinyan Xu’s works  The Walks  use audio and walking as an invitation for listeners to rediscover, interact with, and forge a personal connection with the urban environment. The Walks are a series of soundwalks, 60, 16, and 06 minutes long, focusing on audio experiences in non-places.

Pim Tournaye’s  Improvisational Syntax  is a running inquiry into co-creation in Human-Computer Interaction, through the medium of free improvisation. By playing with the dynamics of musical language, human and non-human agency, and transparency, the project uncovers the social conversation to be had with machines.

Mishka Morgan’s  YUCKY WORLD  is an immersive digital experience where players, embodying the “yucky girl”, navigate through a dreamlike content graveyard, created in poetic response to the growing pains and emotional turmoil of a social media-obsessed adolescence.

Zhuo Cheng’s project invites people to journey aboard a brave sailing vessel as  Floatineer , tasked with building homes atop the ever-shifting waters. Users prepare to explore treacherous realms, facing the fury of nature's wrath. With each block placed, they build resilient havens for diverse inhabitants, each with their own tales to tell.

Feifan Qiao’s  Glitch  is an interactive VR experience that simulates a museum tour to critique misogynistic practices in the cultural industry.

Annika Santhanam’s  PANO  is an answer to OMNY, the surveillance capitalist manager of public transport in New York City. The  PANO  machine is an autonomous data-scrambling machine that fights harmful data practices by offering a solution outside of the system, using community-oriented action to keep people safe and their privacy private. 

Jiang Hao’s  Critique of Everyday Life  crafts a visual performance using clips from everyday life, seeking to explore Henri Lefebvre’s philosophical work  Critique of Everyday Life  through a perceptual narrative approach.

Caity Croft’s  The Eternal Game  is an evolving transmedia conceptual framework that exists in several forms: (1) a framework and series of tools to design your destiny; (2) a video series prototype imagining what the Spatial User Experience (UX) could look like if  The Eternal Game  quests were played in Extended Reality; (3) an AI music model you can play and remix, which is generated from my music.

Ella Pan’s  Stray  is an interactive video installation about the experiences of stray animals living in environments altered by human activities, and discusses the relationship between stray companion animals and human society. 

Eric Rabinowitz’s  Lentil  is a user-friendly multimedia web editing and publishing tool allowing non-technical creators to use the latest web platform capabilities for personal and community-oriented projects. 

Phil Guo’s  Vision Canvas  is an AI-driven tool that translates spoken information into real-time visual narratives, simplifying complex ideas for universal understanding. This tool is an experiment for educational settings, corporate meetings, and any scenario requiring clear communication to spark conceptual thinking and co-creation.  Vision Canvas  fosters engagement, aids memory, and aligns teams by providing a visual common ground.

Chucen Chen’s  Love as an Everyday Practice  is an interactive installation that explores the definition of love and its representation as a daily practice. The artist creates an immersive environment reflecting the complex interplay between intimacy and fear in love by incorporating visual expression, storytelling, and traditional art methods, inviting viewers to engage with and reflect upon their own experiences of love and memory.

Lisha Yan’s project  The Vessel  is an immersive video installation capturing the poetic and chaotic intersections of motherhood, art, work, and social media, offering a humorous and critical lens on the complexities of modern life and identity as a mother in the digital age.

Liyanbing He’s  Forgiveness  is an interactive narrative film game that narrates the subsequent story of a school bullying event. You decide what you see in the film. 

Anastasia Dor’s  Face to Meet You! (给个面子)  explores the tension between what we show, what others see, and what happens inside us. The artist both pays homage to her Russian heritage and gradually reveals layers of her auto-fictional self through the Matryoshka sculptures. The installation asks the audience to contemplate the toll of projecting a particular image of oneself.

Grace Song’s  Enchanting Metamorphosis  is an interactive art installation offering the experience of becoming a magical girl through wearable technology and a Ball Jointed Doll. Through digital stories and an interactive game, users get to experience a magical transformation from the virtual into reality.

Elisabeth Schifrin’s  From: To:  Considering the factory conveyor belt as a critical site of human-machine relationships, Dim Factory of Variable Production reconstructs this mass manufacturing machine to reveal different ways of being, both human and synthetic, in an attempt to propose an alternate automated future.

Angel Li’s  ON/OFF CAMERA  is a live streamer simulation game that reflects on the culture of the live streaming industry.

Robi Abera’s  Boundary Dynamics  is an interactive storytelling experience where two players, a performer and an audience participant, swap between three characters to explore a shared virtual world from their unique perspectives. Players can collaboratively build a narrative, blending elements of machinima, live streaming, and live performance. 

Yvonne Wu’s  Reborn  is a web-based, visually interactive comic for teens about death education, which is told from the perspective of Lily, a young girl who died of brain cancer at the age of 14. She posthumously tells the story of how her own parents gradually moved on from the grief of losing her, their own daughter, and eventually regained their lives while embracing love and spreading it.

Kami Karras’  Something Old, Something New : Soft, playful, and approachable creative technology education and community exercised through a print publication called techi3.club

David Nuff’s  Perfume Clock  is a clock that smells the time. Or you smell the time through it. It...scents the time.

Cate Boillat’s  Is it lost on you?  is an exploration of how interactivity affects the way music is experienced through the lens of an interactive music video for her song, “Is it lost on you?” Users can click and/or drag objects that are tied to and alter the audio, working together to further illustrate the song’s narrative.

Jaiden McCran’s  The Things I Carry  is a video installation that provides a glimpse into the experiences of navigating girlhood online from the perspective of a fangirl. Both a personal reflection and a communal expression, depicting the physicality and weight of these collective experiences of both the fangirl media culture and the contemporary digital culture consumed at the given time symbolically as items in a bag. 

Maryse Lango’s  The Dark Child  is a VR experience that brings to life a poem about embracing racial and cultural identity, emphasizing the power of self-acceptance and spirituality. It features a 3D printed bust of the artist alongside AI-generated images of her face altered to fit European beauty standards, highlighting the tension between societal expectations and personal identity.

Amber Chen’s  Redecorating  is a reframing of the artists’ childhood/current room, a space that became stagnant for her through having so many experiences in the same setting, into a newly personalized space of imagination and immersion.

Rebecca Sweigart’s  tetrachroma   (四色)  is an assistive augmented reality experience that uses color theory and color look-up tables to reduce anxiety and create emotional stability for individuals in everyday scenarios where there may be overwhelmed by visual stimuli. 

Michelle Lee’s  (in)tangible being  is an installation about self-conception, exploring the lines between physical and digital which has been blurred by our mundane encounters with digital devices.

Maram Magdi Mohamed’s  Empower Her Return  is a spatial experience prompting reflection on the repatriation of artifacts, focusing on the Ancient Egyptian artifact Nefertiti. It leverages an empty display room to convey the concept of repatriation, evoking empathy and critiquing museum practices by highlighting hidden colonialism.

Jonny Sabbath’s  Living Vision  is an AI tool exploring the future of how brands come to life. The tool features image generation, storyboarding, and animation capabilities. With custom brand models, the tool develops content trained on a given brand’s visual identity, rather than generic mass-market AI imagery.

Ian Hawkins’s  Prophylactic Distraction  is a meditation experience that distracts you, so you don’t have to distract yourself. Freeing you from the self judgment that can come from losing focus, the piece aims to help you better focus on the core of the meditation experience. Refocusing. 

Ryan Cady’s  Obsolete Aesthetics  is about the process and the importance of your own limitations, personal experiences, and the value created from your mistakes. To contrast this, the artists reverse engineered the soundscapes he made through idiosyncratic processes with obsolete tools, using prompt based AI tools, with unintended results.

Photo Credits:

Phil Guo, Haozhe Li, Jimmy Pan, Rona Xia

IMA Low Res is a unique one-year graduate school experience in creative and purposeful application of technology that offers three site-specific sessions across New York University’s global network in New York, Berlin, and Shanghai, interspersed by two semesters of online learning.

25 years on, The Blair Witch Project leaves its mark on horror — and the film's stars

Michael c. williams and joshua leonard starred in influential 'found footage' horror film.

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In 1999, Michael C. Williams was on top of the world. 

The actor was making an appearance on Late Night with Conan O'Brien after co-starring in The Blair Witch Project , the found-footage horror film that rattled millions of moviegoers' bones.

A year and a half later, acting work had dried up and Williams was selling hot dogs at a restaurant on Hollywood Boulevard. One day, his customer was comedian and O'Brien's co-host Andy Richter.

"He kind of gave me one of those empathetic looks and kind of said, 'What happened, man? Why are you flipping hot dogs? That movie made more money than God,'" Williams recalled.

"I said, if I knew, I wouldn't be here."

Williams and co-star Joshua Leonard, who continue to work in the film industry, spoke to Day 6 about the unusual nature of The Blair Witch Project , which left a lasting imprint on horror media when it was released in 1999 — but also the real-life long-term scars it left on them and their co-star Heather Donahue.

The trio faced hate and harassment from people who felt duped by the movie's marketing, and have continued to call for fair compensation and residual payments related to the film's franchise, which has only grown in the past 25 years.

"It's been rough, and there have been aspects of trauma," said Leonard.

"Nobody has ever stepped in from the studio side … to say, 'Oh man, that must have been hard. Maybe we can give you a heads up next time [a sequel is] going to come out. Maybe we can help you pay for the therapy bills that you've been paying over 20 years.'"

Written and directed by Daniel Myrick and Eduardo Sánchez, the film told the story of three young adults who venture into the woods to film a documentary about a local legend known as the Blair Witch.

The film is shot to replicate camcorder footage captured for a documentary by the characters, found a year after their disappearance and presumed deaths. Williams, Leonard and Donahue starred as amateur filmmakers and used their real names in the movie.

"For me, it was really exciting to be a part of something that was that experimental," said Williams.

• Cut to the Feeling Watching The Blair Witch Project 25 years on, we see a cautionary tale about tech

An 'extraordinary work of dread and horror'

Peter Kuplowsky was all in with The Blair Witch Project's marketing mystique as a middle schooler in 1999 — even though he recalls being too scared to actually watch it at the time.

"I cut out articles about it in the newspaper, I have a Time magazine with the filmmakers on the cover. I watched the TV documentary that acted as if this was a real piece of found footage," said Kuplowsky, senior programmer for Toronto International Film Festival's Midnight Madness — a program of what he describes as the "scariest, strangest and most exhilarating genre movies."

He finally watched it many years later as research while shooting his own film in the woods. "I think it's a really extraordinary work of dread and horror filmmaking," he said.

It was also a great example of folk horror, building the myth of the Blair Witch with second-hand, sometimes contradictory stories that speak to unknown powers older than us, he said.

"I think the scariest thing about [the film] is all the stuff you can't see, but you have the sense that it's out there."

Fact or fiction

The Blair Witch Project made over $250 million US, a record for independent films at the time. The lead actors' initial payday, however, was $1,000 US per actor for two weeks of filming. They were eventually paid a settlement of $300,000 US in 2004, but this locked them out of future residuals, according to the New York Times .

Using their real names in the film also led to unexpected consequences.

To help build the suspense of whether the footage and story was real, the actors were instructed to go dark for nearly a month after its launch, only appearing on talk shows and magazine covers after the initial buzz had died down.

Close friends and family members knew the nature of the project but were bombarded with inquiries asking if Michael, Joshua and Heather had actually disappeared. For a short while, their IMDb profiles listed them as dead, Williams said.

That blurring between fact and fiction meant the actors had trouble landing new roles. Williams recalled speaking to one casting director who simply did not believe they were acting in The Blair Witch Project , but were recording themselves having an authentic breakdown.

On top of the confusion, Leonard said they were targeted with harassment and hate — at least in part because some viewers thought the marketing had misled them into thinking the film was a real recounting of events.

Donahue endured "a level of vitriol that Mike and I never even had to touch," Leonard said, amplified further by misogynistic attacks on her. Donahue has since legally changed her name and retired from acting. She declined an interview with Day 6.

Kuplowsky said it's likely no imitator will be able to blur the line between fiction and non-fiction to the level the 1999 original did — and that perhaps that's for the best.

"It's maybe a magic trick you can only do once. And there were clearly consequences from pulling that off," he said.

Call for residuals, consultation

In April, Leonard posted on social media calling on film studio Lionsgate to pay himself, Williams and Donahue retroactive and future residual payments for their appearances in The Blair Witch Project , as well as "meaningful consultation" for future sequels and related multimedia.

It came shortly after Lionsgate announced a reboot of the series; the original actors said they were not contacted or involved in the project, even though archival clips and images of them appear in promotional materials.

"It's not even about the money. It's just about being seen and respected and acknowledged for something that continues to affect us as human beings," said Leonard.

CBC reached out to Lionsgate for comment about Leonard's open letter, but the studio declined to comment.

Despite the strange road he and his co-stars have been through, Leonard is grateful for the "sacred relationship" he's been able to enjoy with fans of the film.

He recalled once meeting a mother and daughter at a convention. The mother brought a Blair Witch T-shirt that was a beloved possession of her late son who had recently died of an overdose.

"They approached us and they were both weeping, and she said, 'I can't believe I'm meeting you guys,'" he recalled.

The man's mother told Leonard that getting them to sign this shirt made her feel like she was with her son again.

"Sometimes that's what gets me through the day [is] to be able to have that kind of experience with somebody and really relate   on the deepest human level.... It gives some validation to why we do it."

Produced by Sarah Melton

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The trending Kodak scanner that digitizes film and slides at home

By Stack Commerce

Posted on Aug 3, 2024 7:00 AM EDT

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You’re either traveling back in time with the retro photo trend on social media or living under a rock. Yeah, that HD camera on your smartphone isn’t cool anymore, and film cameras are back in style. Everyone wants to pretend it’s the ‘70s, and we get it.

The biggest downside is that you’ll have to find somewhere to get film developed locally or by mail, and obviously, it isn’t free. And why bother with all that fuss when you could easily develop film at home with this Kodak scanner? It’s also on sale for $169.97 (reg. $224.99) through August 4.

Digitize film and slides from home

The Kodak Slide N Scan is so simple that even your grandma could do it. Find the adapter for 135, 110, or 126 films or 50mm slides , insert your pictures into the gadget, and reveal yourself looking fresh out of the 1970s in your vintage-vibe vacation photos, looking a lot like Led Zeppelin. This digitizer is basically a time machine.

While your photos are in the machine, you can enhance their resolution up to 22MP to bring out even more life and adjust their brightness, color, and rotation (it’s like adding a vintage version of an Instagram filter). Once you’re happy, hit capture, and it’ll save to your SD card.

Digitizing new photos is a blast, but if your family has a stash of old film negatives or slides, the Kodak Slide N Scan is also a great way to preserve those memories. Plus, you can hook the gadget up to a TV via HDMI and give the family a slideshow to enjoy as you shuffle through.

Whatever your intentions, don’t miss out on this price drop because we don’t know when it’ll return (if ever). Get your Kodak Slide N Scan for only $169.97 (reg. $224.99) through August 4 at 11:59 p.m. No coupon is needed for this price.

StackSocial prices subject to change.

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10 Throwback Photos of The Blair Witch Project Cast in Their Heyday

The mystery horror film premiered nationwide on July 30, 1999, and created buzz that hasn't stopped

Ron Galella Collection via Getty

When The Blair Witch Project premiered 25 years ago, the film immediately became a hit, and caused an endless debate on whether or not the events it depicted were real or not.

The 1999 film followed three amateur filmmakers — Heather Donahue, Joshua Leonard and Michael C. Williams — as they ventured into the woods in Maryland in pursuit of the purported Blair Witch. The film's ending which — spoiler alert — made it seem as though the trio had fallen victim to the creature, created major buzz amongst movie-goers.

The Blair Witch Project grossed $248 million at the box office and is easily considered one of the most successful horror films of our time.

To keep the lines between film fiction and reality blurred, Donahue, Leonard and Williams recently told Variety they were urged to stay away from the spotlight. And while the decision aided in creating more lore around the film, the trio told the outlet it also kept them from being compensated appropriately .

"My agent asked me what the f--- I was doing,” Leonard recalled of the days after the film premiered. “I said, ‘You know that I haven’t made any money.’ We were all struggling to pay the rent," he revealed.

Though they each got a $300,000 settlement back in 2004, per Variety, the figure seemingly pales in comparison to what the film earned and continues to earn as images and voices of the cast continue being used .

To mark the groundbreaking film's 25th anniversary, check out these throwback pics of Donahue, Leonard and Williams from back in the day.

Caught in Action

Joshua Leonard and Michael C. Williams got to work behind the scenes of The Blair Witch project in this pic from 1999.

And ... Scene!

Artisan Pics/Kobal/Shutterstock

Heather Donahue took matters into her own hands in a playful snap from the movie shoot.

Into the Woods

Moviestore/Shutterstock

In this photo from 1999, Heather Donahue was deep in character while in the woods of Maryland.

Forever a Classic

This picture of Heather Donahue's eyes became the now-iconic image used as the film's poster.

Serious Business

Artisan Entertainment/Getty

Joshua Leonard was pictured putting in some serious work as he shot scenes for the film.

Oh-So-'90s

Joshua Leonard, Heather Donahue and Michael C. Williams were pictured arriving to the 1999 MTV Video Music Awards at the Metropolitan Opera House in New York City.

On the Party Circuit

Jeff Kravitz/FilmMagic

The trio later hit up the party circuit following the awards show.

Safe and Sound

Heather Donahue was pictured looking much different than she did in her time in the woods in this undated shot from back in the day.

Evan Agostini/Liaison/Getty

Joshua Leonard — who was rocking some serious hair spikes — attended the New York City premiere of The Blair Witch project in July of 1999.

Mini-Reunion

Vivien Killilea/WireImage

Heather Donahue stepped out to support her longtime colleague Joshua Leonard at the 2012 premiere of his film The Lie, which he both starred in and directed.

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MSNBC Films has acquired From Russia with Lev , the first project from Rachel Maddow ‘s production company Surprise Inside, with plans to screen the documentary at a MSNBC Live event on Sept. 7 followed by a theatrical and broadcast debut.

From Russia with Lev will be shown to attendees of MSNBC Live: Democracy 2024 , a gathering of network hosts for a daylong discussion at the Brooklyn Academy of Music. No date has yet been announced for its theatrical and broadcast run.

The project is directed by Billy Corben and produced in partnership with Corben’s studio rakontur and Universal Television Alternative Studio. Maddow serves as executive producer, along with Rashida Jones, Rebecca Kutler and Amanda Spain.

In a statement, Maddow said, “There should be more documentaries from an insider’s perspective about the Trump presidency. There should be a Mike Pence documentary. There should be a John Kelly documentary, or a Rex Tillerson documentary. But it takes someone like Lev Parnas to be brave enough to speak up first. Lev’s story is un-put-down-able.”

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Indian Composer-Actor G.V. Prakash Kumar Channels ‘Harry Potter’ and ‘Indiana Jones’ for ‘Kingston,’ Reflects on Uncle A.R. Rahman’s Influence (EXCLUSIVE)

By Naman Ramachandran

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Multihyphenate G.V. Prakash Kumar is expanding his reach in Indian cinema, with several high-profile projects as both composer and actor on the horizon.

Kumar, who made his debut as a film composer age 19 with Vasanthabalan’s 2006 Tamil-language movie “Veyil,” entered Hindi-language cinema with Anurag Kashyap’s “Gangs of Wasseypur,” for which he composed the background score, in 2012.

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With Kangana Ranaut’s “Emergency,” set during India’s 1975 political crisis, Kumar focused on capturing the essence of political power struggles. “It’s about power and the trip for power. That’s the basic thought process in the music,” he says. To evoke the period, he’s utilizing live brass, trumpets and band instruments to create a vintage sound.

Kumar is particularly excited about his score for Pa. Ranjith’s highly anticipated “Thangalaan,” starring Vikram. “It’s a rooted film. The roots of ‘Thangalaan’ are tribal, so I’ve tried to bring in the sound of the tribes as genuinely as possible,” Kumar reveals. The composer incorporated deep tribal voices, woodwinds, and shout calls. “Those things that I brought into the film to give it a flavor, and with an international touch to it, like in a soundscape trying to make it theatrical, and yet sound different from my contemporaries,” Kumar said.

However, Kumar emphasizes developing his own identity. “After a point, I wanted to branch out and have my own sound,” Kumar explains. “That’s when I got films like ‘Aayirathil Oruvan’ and ‘Madrasapattinam’ where I could inspire and give my own sound, where it will stand out separately as G.V. Prakash sound.”

On the acting front, Kumar has become one of India’s most prolific performers since his 2015 debut in “Darling,” which won him the Filmfare award for best acting debut. He has three releases in 2024 alone. Kumar says he chooses roles based on unique plots and characters that drive the script. “I want to be placed in different films with different characters or genres,” he said.

Kumar cites films like Bala’s “Naachiyaar,” Rajiv Menon’s “Sarvam Thaala Mayam,” Sasi’s “Sivappu Manjal Pachai” and Sathish Selvakumar “Bachelor” as highlights of his acting career, noting the diverse character portrayals they offered.

Currently, Kumar is juggling multiple roles on the adventure film “Kingston,” which he compares to the magical world of Harry Potter. “It’s something like a Harry Potter kind of film where a lot of supernatural things happen,” Kumar said. “It’s about a journey of a boy, it moves into a Harry Potter or Indiana Jones kind of an adventure with a visually stunning backdrop and a new world we’re trying to show with that film.”

Kumar is producing “Kingston” via his Parallel Universe Pictures outfit alongside Zee Studios. He also stars in it and composes the music. “I’ll have to separate time for each aspect,” Kumar said of balancing his responsibilities. “When I do the acting portion, I work only on that. For production, I have my team. Music was done much before, during pre-production.”

Kumar aims for an October or November release for “Kingston” and is eyeing a pan-Indian release. “We do have dreams over it. And we have a good distribution company to get it throughout the world,” he shares.

Looking ahead, Kumar is open to international projects as both composer and actor. “Any new language is something interesting for me because I get to try something different,” he says.

Kumar is also exploring live performances. Following a successful concert in Coimbatore, southern India, last year that drew a crowd of 75,000, he is currently in talks for shows in Malaysia and the U.K.

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