thesis film project

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Department of Art, Film, and Visual Studies  

Thesis and Senior Project Guidelines

Although many senior concentrators in AFVS do a thesis or a senior project, it is not a requirement, nor is it necessary to be recommended for an honors degree from the department. All senior theses or projects are designated with the course number AFVS 99A for the first part and AFVS 99B for the second part.  The thesis is ordinarily a two-semester project, but a Senior Project can be a one-semester undertaking. 

Joint concentrators whose primary concentration is not AFVS will enroll in AFVS 91R, and in the 99 of their primary concentration. They may have an adviser in both concentrations.

Academic Requirements

A thesis or senior project is a serious commitment and is the capstone experience in the department.  During this two semester project, the student meets at scheduled intervals with his or her thesis or senior project adviser to formulate, develop, and ultimately refine their thesis work.  Scheduled into the department calendar are series of dates to serve as checks on the progression of thesis work, which are explained below.

• A thesis in film must represent the third year of work in film production. 
• A thesis in video must represent the third year of work in film and/or video.
• Studio thesis proposals should include a link to a portfolio of images of current and past work.

All theses in studio and film/video should also be preceded by a related historical or theoretical course.

Applying for a Thesis

All thesis and senior project proposals must be reviewed by the Honors Board before the project can go forward. Students ordinarily apply to do a thesis or senior project in the term before the work begins.

Sometimes project proposals will shift significantly from the time of initial application or the Honors Board will recommend that the proposal be re-written. In these cases, students should submit a revised proposal at the start of the following term.

Students should not enroll in AFVS 99 before work or revised work is approved by the Honors Board. The Director of Undergraduate Studies is the course head and approves the tutorial in students’ Crimson Carts, for all AFVS tutorials, not the project adviser.

Any student who is unsure about applying for a thesis or senior project, or whether or not they have met department requirements to do a thesis, should set up an appointment with their concentration adviser, Director of Undergraduate Studies, or the Manager of Academic Programs.

Finding an AFVS 99 Advisor

A student must find their own project adviser, and ordinarily that is a full-time faculty member in the Department of Art, Film, and Visual Studies. Graduate students and faculty from other departments ordinarily do not serve as AFVS 99 advisers. Sometimes a project adviser will be a visiting faculty member who is not in residence until the following academic year. In this case, the student should apply by the designated due date and the project would not receive final approval until the visiting faculty member is able to meet to discuss the proposal.

In general, AFVS students should conceive their theses in conjunction with AFVS faculty, and with the idea of working with the department’s own faculty members as principal advisers. In the unusual circumstance that the appropriate AFVS adviser will be on leave during the thesis year or some part thereof, that AFVS faculty member should be consulted, in advance of the submission of the application, on which other colleague(s) might serve in their stead. Normally, only in cases where the AFVS faculty adviser strongly urges that a faculty member outside of the department supervise the thesis would the Honors Board agree to this arrangement.

An AFVS thesis has three readers also known as committee members, assigned.  One reader is also the AFVS 99 adviser; and two other faculty members are assigned by the Director of Undergraduate Studies.  Unlike in many other concentrations, in AFVS the readers are known to students before the thesis is completed.  In fact, in studio and film/video theses, readers play an important role during the thesis review process.  Senior projects do not have readers. 

The AFVS 99 tutorial is given a letter grade by the adviser whether it is a thesis or a senior project. This grade appears on the student’s transcript. If the AFVS 99 tutorial is to be a thesis, in addition to the tutorial grade given by the adviser, the thesis work receives a Latin honors grade by the three readers (summa, magna, cum, and plus/minus versions thereof).* As with traditional letter grades, the Latin honors grades have numerical equivalents and the three reader grades are averaged together to determine a final thesis grade. The thesis grade does not appear on the student’s transcript as a separate course, however, this grade is averaged into the final department grade point average, and it is counted as two half-courses, since it is work done over two terms.

* If the thesis is not considered honors-level work, it is given a non-honors letter grade (B- and below).

In sum, if a student does a senior project they will receive a letter grade for the AFVS 99 tutorial. This ordinarily counts as two half-courses toward the department GPA. If a student does a thesis, they will receive a letter grade for the AFVS 99 tutorial (which will count as two courses toward the GPA) and they will receive another grade for the thesis, which does not appear on the transcript but will count as an additional two courses toward the department GPA. 

Grade Report

At the end of each term, fall and spring, the student’s progress in the Senior Tutorial (AFVS 99) is graded and the adviser may write a brief progress report of the tutorial to date. Since AFVS 99 is ordinarily considered a full course, the final grade will count twice toward the student’s grade point average.

Reader Reports

Each of the three thesis readers assigns a Latin grade and writes a report on the thesis work. As explained previously, the three grades are averaged together to form one final thesis grade. Students receive copies of the reader reports after the department’s degree meeting.

All AFVS concentrators are eligible to be recommended for an honors degree. The AFVS Honors Board calculates a recommendation for honors based on the factored grades of the thesis and the student’s grades in all concentration courses. This recommendation is presented to the faculty at their meeting in May for review (or January for March degree candidates). A faculty vote is taken and this decision is passed as an honors recommendation to the Registrar of the College. The decision of final honors to be granted on the degree is made by the Registrar based on departmental recommendation and grades overall. Students can consult with their Allston Burr Resident Dean to determine what final honors might be anticipated at Commencement. It is Department policy that there are no reports of decisions regarding the thesis until after the Faculty has considered and voted upon each recommendation for honors. After the faculty has voted honors recommendations, students will be notified of the department’s recommendation to the College and will receive copies of their thesis evaluations.

Discontinuing a Thesis

The process of undertaking thesis work is a serious commitment of time and energy for both the thesis student and adviser. In some cases it might be necessary to discontinue the thesis mid-year. If this situation occurs, the student or adviser must indicate this in writing to the Director of Undergraduate Studies. Two scenarios may result from this decision:

• The student discontinues both the tutorial and thesis work by dropping the course. It is possible to discontinue a senior project by following these procedures as well.  Deadline to drop AFVS 99 entirely and divide with credit: February 20, 2024. 
• Or, the student turns the thesis into a “Senior Project.” The student will continue to work with the project adviser for the rest of the year. There may or may not be a finished body of work at the end of the tutorial. The student would still remain enrolled in AFVS 99, but would not have work to submit at the thesis deadline and would not participate in any thesis reviews or have the work read/reviewed by the other readers/committee members. The adviser would then grade the AFVS 99 tutorial at its conclusion at the end of the semester. 

Financial Eligibility

Senior Projects and theses are eligible for financial support by the department. The Director of Undergraduate Studies and the Manager of Finance evaluate all projects on an individual basis. Each student can request funding to support their project by filling out a Budget Request Form . These forms are due when the thesis proposal is due. If you anticipate any unique or extraordinary budget requests, you must make an appointment with the Director of Undergraduate Studies and Manager of Finance before you submit the Budget Request Form.

Senior Project vs. Thesis?

There are a few main differences between a “senior project” and a thesis but since the student enrolls in AFVS 99 in either case, there is no discernible difference on the transcript. The first difference is that a thesis must conclude with a finished body of work, submitted by the specified due date. A senior project may or may not result in a finished body of work. The due date of a senior project is sometimes the same as the thesis, but is usually the last day of classes in a semester. The due date must be worked out in advance between the adviser and the student, particularly if it involves using department equipment or materials also used by regular classes. The second main difference is that there are no readers assigned to critique and grade a senior project, therefore the project receives only a letter grade, not a Latin grade. For information about turning a thesis into a senior project, please refer to “discontinuing a thesis” above.

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AFVS 99 Thesis/Senior Project Form

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Undergraduate Contacts

Paula Soares Manager of Academic Programs (617) 496-4469 soares [at] fas.harvard.edu Carpenter Center 102

AFVS 99 Thesis Budget Request Form 2023-24

Important thesis dates.

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BFA in Film & Video

Thesis films.

All students produce thesis films in their second year as their capstone project.  The first year, both doc track and fiction track students take classes together in camera, sound, editing, screenwriting, documentary production and theory, the second-year study is focused on supporting students to produce a 10-12-minute independent documentary or fiction film.

Doc track students begin production in the fall and continue that production and edit their documentary films in the spring. Fiction track students write scripts for their thesis films and take a class in directing actors first semester of their second year. They shoot and edit their fiction films the spring semester of their second year.

Select Thesis Films 

- COMING SOON -

The films are judged by award winning filmmakers. Based on their assessment awards for best documentary, best fiction, best editing documentary, best editing fiction, best cinematography documentary and best cinematography fiction are awarded. Our thesis show takes place each year at the Francesca Beale Theatre at Film at Lincoln Center. 

Media & Communication Arts Department

The MCA Department Shepard Hall, Room 472 160 Convent Avenue
 New York, NY 10031 
e:   [email protected] p: 212-650-7167

Prof. Deirdre Fishel

Program Director Shepard Hall, Room 473 160 Convent Avenue
 New York, NY 10031 
e:   [email protected] p: 212-650-8961

David Ranghelli

Assistant to the Chair & Coordinator of BFA in Film Admissions Shepard Hall, Room 472A 160 Convent Avenue
 New York, NY 10031 
e:   [email protected] p: 212-650-5726

Last Updated: 03/10/2023 17:32

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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Syllabus: "Thesis Film Pre-production: Production and Theory"

CINE 726 and 770 are linked courses focused on developing your MFA thesis proposal and preparing you to advance to the production of your thesis film. Students will focus on research, pre-production, and workshopping of their proposed project. Expect to explore your thesis ideas, devise a concept situated in critical theory, write and revise a screenplay or treatment, create a budget and schedule, review relevant films and texts, and articulate your visual style and directing process. Significant time will be dedicated to the writing, critique, and revision of treatments and screenplays.

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CalArts School of Film/Video MFA Thesis Guidelines

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Preparing for the thesis takes some time. Please read these guidelines for specific information on preparation and requirements. 

Students are expected to work with their faculty committee members and other Film/Video faculty and staff to design their thesis project’s method, schedule and viable production and post production pathways. Additionally, the student is expected to convey to the committee any significant changes to the project’s content, form, method or production schedule, and work with faculty and staff to update production strategies accordingly. 

Thesis Committee

Students meet with their mentor and other faculty early in the MFA-2 year to discuss ideas for the thesis and develop a faculty committee. Each Film/Video program has different recommended timelines for thesis preparation and committee members, as below: 

Preliminary Review

The Preliminary Review (“Prelim”) is designed for the student to propose their MFA thesis project for evaluation and feedback from their faculty review committee. It’s important that the Preliminary Review defines the standards by which the student and their committee will evaluate the completed thesis. 

The Prelim is also the context where the student will outline their project’s technical pathway and use of Film/Video facilities. Both the academic and technical aspects of the proposed project will be discussed and evaluated for their artistic merit, scope and feasibility. At the Prelim, the proposal is either approved or the student is required to develop the proposal further and present that at an additional preliminary review. A Preliminary Review Report is then reviewed by the mentor and the Dean and posted to the student’s academic record on Hub Helper.

Scheduling the Preliminary Review

Once the student and mentor have agreed on the thesis proposal and committee, students book a review date and time using one of the form links below. The review calendar gets full quickly, so it’s good to book as soon as you are ready.  

• MFA Preliminary Thesis Review Scheduling Form – Spring 2024

Once your review is booked, it cannot be rescheduled except in case of emergency.

Preparation for the Prelim

1 week before Prelim: Provide review materials listed below.

Please provide your committee with the materials below by email or faculty mailbox:

Turning in Your MFA Thesis Technical Paperwork

After your Prelim, meet with technical staff and complete the technical paperwork: MFA Thesis Post Production Questionnaire, FV Project Form, and Facilities Supervisors’ Authorization Form.

In the month after the Prelim, students should arrange to meet individually with faculty and staff who manage each of the facilities they’ll use for the thesis, to gain a clear understanding of the technical processes necessary to complete their thesis project. Be sure to complete both the MFA Thesis Post Production Questionnaire and the FV Project Form before meeting with faculty and staff. In addition, please bring these 2 documents to each of the meetings with facilities supervisors:

• Written description or summary of the proposed thesis project
• Facilities Supervisor Authorization

If your Prelim is scheduled for Fall 2023: Turn in Technical Paperwork by Wednesday, February 28, 2024.

If your Prelim is scheduled for Spring 2024: Turn in Technical Paperwork by Wednesday, April 24, 2024.

Please turn in the signed Facilities Supervisors’ Authorization form to the Film/Video office.

• MFA Thesis Post Production Questionnaire (submit online)
• FV Project Form (submit online) 
• Facilities Supervisor Authorization (print out a hard copy, also available at the F/V Cage)

Your Prelim and thesis project will not be approved until you have submitted all technical paperwork.

Changes to Your Thesis If there is a substantial change in the nature of your thesis or its size, you must discuss the changes with your mentor and present a new written proposal to your committee. The mentor may decide that a second Prelim is needed. Any substantial changes in the technology used or in the length of the project must be accompanied by a new “Facilities Supervisor’s Authorization” form.

Graduation Review

The MFA Graduation Review occurs before the end of the student’s last semester. Students present the thesis to the committee for evaluation and feedback. The committee determines if the project meets the expectations for completion.

For all programs, if the thesis is not complete at the scheduled graduation review, the student is not approved for graduation. A second review will not be possible until the thesis is complete and not before the beginning of the next semester.

For a thesis project to be considered complete, it must have a finished output with sound mix. In the case of a thesis finished on film, complete is defined as a final edit and mixed soundtrack. A silent thesis must be presented either as a film print or a finished output. An installation, performance or interactive project is defined as complete once it has been exhibited in a gallery or other public setting. 

Students are required to give a copy of their thesis project to the CalArts Library.

Review Reports

Either a staff note-taker or the mentor will create reports to document both the preliminary and graduation reviews as a record of the committee discussions and decisions. This will go to the Dean for review and be available via Hub Helper.

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Focusing on the transnational and the peripheral elements of film, we develop and expand the entire realm of film scholarship. Working on areas from Deleuze to Korean cinema, from digital cinema to Eastern Europe, from transnational auteurs to documentary and activist films, and many areas in between, we promise a vibrant and engaging research environment for students and scholars.

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Film festivalisation : the rise of the film festival in the uk's postindustrial cities , making meaning of laurence olivier : reading queer sensibilities in his hollywood performances, 1939-1960 , watch and learn : film and the british educational life 1895-1910 , ecuadorian cinema for the 21st century : negotiating neoliberalism policy, industry, and memory during the ley de cine years , when the place speaks : an analysis of the use of venues and locations in the international film festival circuit .

Thesis Film Project

My name Younhee Cho who is in MFA acting program.

I am looking for  Pproducer, Director, Director of photography, Editor  for my thesis film project. 

If you are available to work with me, Please contact me this email - [email protected]

Shotting Date - April 1 and 2 (Saaturday and Sunday)

The Secret (working title) is a drama about an ambitious attorney who is finally given a major headline case that could earn her the promotion she has worked for years to achieve. Even though the case is defending an elderly rapist and war criminal, she is determined to do whatever is necessary to win the case. However, when she learns that winning the case will involve discrediting the testimony of her own mother, she is faced with the dilemma of choosing whether her family is more important than her career.   

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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USC thesis film - what's the process for making one like?

• Thread starter stevemilk
• Start date Jun 2, 2022
• Tags mfa thesis usc
• Jun 2, 2022

Hey everyone, I was recently accepted to USC's Film & TV production MFA, and wanted to learn more about the process for making a thesis film. As I've heard only around 12 students each year write / direct a thesis. How competitive is this process? How are students selected? What other tracks do students who aren't selected to direct a thesis film take? More generally, is USC the right school to attend if I'm certain I want to be a writer / director? (I've heard its very good vocational training in specific fields like cinematography / editing / sound design, but I'm not sure about its reputation in other areas.) Thanks in advance!  

Well-Known Member

• Jun 4, 2022

Hey!! incoming 3rd semester USC MFA production student here. There’s many different routes to go to make a thesis film. The most competitive is 546, where there is a submission/pitch process where scripts, directors, and producers are selected. The school gives money for these projects. Another route is 581, which you can write/direct your own script, but school doesn’t give funds for your project. You still get to use USC insurance and equipment though. 582 is basically an independent thesis, where you don’t get to use USC insurance, but can go wherever/shoot abroad/use whatever equipment/etc. I’m not sure of the exact number of students per semester, but I know that most who pursue it get some opportunity over the last 2 years. I would say most people at SCA who come in want to be writers/directors. I have found that while it is a very director centered school, you become really well rounded by learning all of the different areas of filmmaking. The faculty are all really great and after my first year, I have learned so much about being a filmmaker even with prior experience. Hope this helps! Feel free to reach out with any questions.  

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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

What are Parallel Storylines in Film and TV?

Sometimes, you have to get your idea across in two stories instead of one..

I binge-rewatched Game of Thrones last month and marveled at just how many stories were crammed into every season. The intercutting between characters kept every episode enthralling and exciting. I was genuinely amazed at all the parallel storylines they were able to maintain throughout the series' run.

So today, I wanted to go over the idea of these parallel stories. We'll dive into the definition, look at examples, and try to help you visualize how you can put this stuff into your own script.

Let's dive in.

Parallel Storylines Definition

The Departed

Warner Bros. Pictures

Parallel storylines, also known as parallel narratives or plots, are a captivating storytelling technique where a film or television show juggles two (or more) distinct narratives.

These narratives can unfold simultaneously or be interwoven throughout the story, ultimately enriching the overall plot and thematic depth.

Tropes of Parallel Storylines

Pulp Fiction

Imagine a masterfully woven tapestry. Each thread, unique in color and texture, contributes to the final breathtaking image. Similarly, parallel storylines, each with its own characters, conflicts, and resolutions, come together to create a richer and more engaging viewing experience.

There are several ways filmmakers and television showrunners utilize parallel storylines. Here's a look at some popular tropes:

• Mirroring Themes : Two storylines, seemingly disparate on the surface, explore the same central theme from different angles. For instance, The Godfather follows the Corleone family's descent into violence, paralleled by the idealistic young lawyer Kay slowly becoming disillusioned with the world.
• Contrasting Lives : Juxtaposing vastly different realities can highlight social commentary or character development . In Parasite , the wealthy Park family lives blissfully unaware of the struggles of the Kim family dwelling in their hidden basement apartment.
• Converging Paths: Initially separate narratives eventually collide in a dramatic climax. Pulp Fiction famously features a non-linear narrative with seemingly unrelated stories ultimately converging in a diner.
• Cause and Effect: One storyline's events directly impact the other, creating a sense of urgency and interconnectedness. Breaking Bad brilliantly portrays the ripple effects of Walter White's descent into the drug trade on his family and the DEA's relentless pursuit.

Ways to Insert a Parallel Story into Your Script

Breaking Bad

These kinds of screenplays are fun to write. They're basically mandatory in TV, and they can help you write a dual protagonist in film.

So when you sit down to do it - take this stuff into consideration:

• Intercutting : Scenes from each narrative are rapidly alternated, building tension and suspense. The Departed masterfully utilizes this technique to keep viewers guessing about the undercover cop and mob mole within each other's organizations.
• Chapter Structure : Some TV shows dedicate entire episodes to separate storylines, allowing for deeper exploration of each plot. Westworld utilizes this approach to explore the perspectives of both the human guests and the sentient android hosts within the futuristic park.
• Relevance : The parallel story should never feel like a distraction. Ensure it has a strong thematic or plot-related connection to your primary storyline.
• Balance : Pay careful attention to the amount of time dedicated to each storyline. You don't want the parallel story to overshadow the main plotline or feel underdeveloped.
• Transitions : Employ smooth transitions between storylines. This can be achieved through visual cues, thematic links, or clever intercutting.
• Payoff : The convergence or connection between parallel stories should reveal something significant or create a strong emotional impact, justifying the use of this narrative technique.
• Voiceover : Characters from different narratives can provide internal monologues, offering unique insights and adding depth to the overall story. The Aviator employs this technique to delve into the complex mind of Howard Hughes through narration by his various associates.
• Outline Both Stories: Plan out the main beats of both your primary plot and your parallel story. This will help ensure they work in tandem and connect at the right points.
• Color-Coding: Use different colored highlighters or text to distinguish your storylines when writing and revising. This will aid in maintaining clarity.
• Test with Readers : Get feedback on whether the parallel story feels smoothly integrated and enhances the overall narrative.

Examples of Parallel Storylines

The Lord of the Rings: The Rings of Power

Prime Video

The world of cinema and television is brimming with examples that showcase the power of parallel storylines. I went through and picked some of my favorites.

I think these examples actually help me understand the balance you need in the narrative to support these kinds of stories.

• Pulp Fiction : Quentin Tarantino's classic intertwines the seemingly independent stories of hitmen, a boxer, a gangster's wife, and diner robbers. The non-linear approach and converging narratives create a thrilling web of violence, dark humor, and unexpected connections.
• The Godfather: The film chronicles Michael Corleone's transformation into the ruthless head of the mafia, while simultaneously depicting his idealistic sister Kay's disillusionment with her family's criminal world. This contrast highlights the corrupting nature of power and the tragic loss of innocence.
• Amores Perros : This Mexican film intertwines three stories connected by a single car accident. The parallel narratives explore themes of love, loss, and the harsh realities of life in Mexico City, painting a gritty yet emotionally resonant portrait.
• Babel : Featuring interconnected stories set in Morocco, Japan, Mexico, and the US, Babel explores the impact of a single gunshot on people from vastly different backgrounds. It emphasizes themes of miscommunication, prejudice, and the profound consequences of seemingly small actions in a global world.
• Parasite : This dark comedy thriller juxtaposes the lives of the wealthy Park family with those of the struggling Kim family, who con their way into the mansion. The contrasting storylines expose social inequality and the desperation it can create, leading to a shocking and unforgettable finale.
• Lost : This sci-fi mystery series follows plane crash survivors on a strange island. Parallel storylines jump between their present-day struggles, flashbacks to their past lives, and the mysterious events happening on the island, culminating in revelations about the island's mystical nature.
• The Wire: Each season of this acclaimed series explores a different facet of Baltimore, Maryland. Parallel storylines often involve the police, drug dealers, politicians, the media, and the school system, showcasing the interconnectedness of societal problems and the complexities of urban life.
• Orange Is the New Black: This dramedy takes place within a women's prison. Individual storylines often focus on a different inmate, with flashbacks revealing their past experiences that led to incarceration. The show delves deeply into various inmates' stories, showcasing themes of diversity, injustice, and the power of human connection within dire circumstances.
• Better Call Saul: This Breaking Bad spin-off follows lawyer Jimmy McGill’s transformation into the unscrupulous Saul Goodman. It interweaves his pre-Saul life with his post-Breaking Bad existence, creating a fascinating character arc with multiple dimensions.
• Westworld : This sci-fi drama utilizes shifting timelines and narrative perspectives. One storyline follows the guests' experiences within the futuristic theme park, while another focuses on the android hosts' sentience and rebellion. The show raises questions about consciousness, reality, and the dangers of unchecked ambition.

Why Use Parallel Storylines in Your Writing?

So, why do filmmakers and showrunners choose this structural paradigm ? Here are some key benefits:

• Character Development: Parallel storylines allow viewers to connect with a wider range of characters, fostering empathy and understanding of diverse perspectives.
• Heightened Suspense : Jumping back and forth between narratives can build anticipation and keep viewers engaged, eager to see how the stories will connect.
• Richer Thematic Exploration : By contrasting or mirroring themes across storylines, writers can deliver a more nuanced and impactful message.
• Surprise and Revelation : The convergence or culmination of parallel narratives can create powerful moments of surprise, revelation, and emotional payoff.

However, weaving parallel storylines effectively can be challenging.

Pacing, clarity of connections, and ensuring each narrative remains engaging are all crucial aspects that require skillful execution.

Parallel storylines are a powerful storytelling tool that can elevate a film or television show to new heights.

By weaving together distinct narratives, creators can create a richer tapestry of characters , themes , and emotions, leaving viewers captivated and pondering the interconnectedness of the stories long after the credits roll.

Let me know what you think in the comments.

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Through the screen door - a csun senior thesis film.

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"Through the Screen Door" - A CSUN Senior Thesis Film

INT. SMALL HOUSE - DAY

Through the Screen Door   is a Latinx coming of age drama centered around the unique Mexican Catholic ritual of the Quinceñera: a transformative celebration in which, on the day of her fifteenth birthday, a Mexican girl "becomes" a woman. Set in the late 1960's and 70's, the film follows Liliana as she tries to accept her newfound adulthood while being forced to interact with the man that stole her childhood. With the help of her older sister, Margaret, Liliana confronts the haunting memories of her childhood assault, a family marred with antiquated morals, and the gender norms forced on young women of color.

An Intimate, Personal Film. Inspired by True Events

Through the Screen Door  is based on the close family stories of Co-Director and writer, Emilio Zertuche and shaped by the strong female role models that continue to inspire the production. This film presents a unique opportunity to highlight the Mexican American experience from the vantage point of someone who was born and raised in a small farming town in California's San Joaquin Valley. TTSD goes in depth on the major obstacles so many women of color endure when trying to speak out about their experiences with sexual assault. Our goal as a crew is to create a film that sparks conversation within our audiences and allows our viewers the opportunity to confront a harsh reality through the power of the moving image.  

The film first took shape in the Summer of 2018 and continues to grow with the help of our amazing crew. The Co-Directors and our entire team strive create a film that we are all proud to be a part of and worthy of the CSUN name. Your generous contributions will help us achieve this goal!

All Monetary Contributions will be Used for the Following: 

• Camera Department - Lenses, Equipment Rentals and Media Storage 
• Art Department  - Unique Period Wardrobe and Props
• Casting  - Talented Actors of Color 
• Location Funds - Securing Locations and Sets Accurate to Real-World Events
• Catering - To Feed our Hardworking Cast and Crew
• Post Production  - Secure Editing Drives, High Quality Sound, and Original Score
• On Set Safety - To Provide a Safe and Healthy Working Environment for All Cast  and Crew

Bonus: ALL DONATIONS AND CONTRIBUTIONS ARE TAX DEDUCTIBLE! CSUN is a 501(c)(3) Charitable Organization.

Thank You for your Consideration and Support! See you on the Big Screen!

Good Vibes!

We'll send you good vibes.

Social Media Shoutout

A special thank you for supporting our story posted on our Social Media Websites! *leave your social media handles on the comments!*

Buy us lunch!

Buy a crew member lunch for the day!

Your Name on the Big Screen!

All donors of fifty dollars or more will be included in our film's credits following the cast and crew!

Signed Film Poster

All donations over one hundred dollars will receive a "Through the Screen Door" film poster designed by our talented art team and signed by our entire cast and crew!

Free Merch!

Get free merch that will be exclusive to the crew! Plus a special thanks on the film credits.

Executive Producer Credit

To show our gratitude for such a generous donation, those who contribute one thousand dollars or more will receive an Executive Producer's Credit.

PAY FOR THE WHOLE PROJECT :D

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Documentary Filmmaking Projects

Build your documentary filmmaking reel at nyfa.

During NYFA’s Documentary Filmmaking programs, students develop non-fiction storytelling skills through a series of hands-on projects. Through the completion of these projects, students learn how to tell a compelling story while exploring various types of documentary films, such as Vérité, Interview, Social Issues films, New Media content and more.

Students learn to create a short film from start-to-finish, as they direct, research, write, produce, shoot, and edit their own work. In longer programs, students have the opportunity to create longer films, building a reel that showcases their best work. A final celebratory screening is at the end of the 1-year Documentary Filmmaking Program, as well as at the end of the MFA program, where students screen thesis films for friends, family, and invited guests.

Documentary filmmaking programs are available at NYFA New York and Los Angeles, and projects vary by location and program length. Please note that the projects listed below are examples of the type of work that documentary students complete and not an all-encompassing list. Please note that projects are subject to change. For more information, please see the course catalog.

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Mfa program projects, vérité character film.

With Character Vérité Film, we challenge students to create a “cinema verité” documentary, capturing authentic moments from a person’s life to tell a story, rather than telling us about or interviewing the person. Each student directs, shoots, and edits their own film.

Personal Voice (1st Person Film)

NYFA Los Angeles: In the Personal Voice (1st Person) Film at NYFA Los Angeles, each student produces a film based on a transformational or unique experience in their own life. The project includes on-camera interviews, personal archival material, and montage style editing. Students can use montage to great effect in the compression of time and to create visual collisions or unexpected continuations between shots. In the editing room, students cut the images to work in harmony with rhythm and pacing. Students may add music in post for this 5-7 minute film. NYFA New York: The Personal Voice (1st Person) Film at NYFA New York explores first person filmmaking and the exigencies of mobile platforms. Students create a 3-4 minute digital video using any film language they choose. Filmmakers create these videos from their point of view and we encourage creative exploration.

Archival Compilation Film

Archival footage, stills, and materials are a powerful tool for documentary filmmakers. The Archival Compilation challenges students to create a 3-5 minute film that combines different types of footage such as interviews, stock footage, and stills. This exercise emphasizes directorial and editorial control to actively engage an audience and express a point of view. We emphasize conceiving and constructing visual and aural juxtapositions and metaphors using these various elements.

Social Issue Film

In the Social Issue Film, students tell a story that explores the social issue of their choice, and may choose to provide a fresh perspective on a political issue or document a local story that has larger implications. Through this project, students add interviews and narration to their arsenal of documentary film language and make use of research, story development, and pre-scripting techniques. They may also use third party materials. During the MFA in Documentary Filmmaking program, this film is up to 20 minutes. In shorter programs, the Social Issue Film is more concise.

New Media / Web Series

It is essential for a filmmaker to keep abreast of the evolution in new media technology and the many new outlets for distribution. The New Media / Web Series Project exposes students to trends in these areas and pitch, develop and create an original, collaborative web series.

Community Film

In the Community Film, students work collaboratively under the close guidance of their instructors to produce a project for a non-profit organization. Throughout this project, we encourage students to put their acquired skills and creativity to work to benefit a cause, learning to meet the demands of a professional client. This project helps students develop a working knowledge of what it takes to produce a high-quality film from start to finish.

Reality TV Bible

The Reality TV Bible gives students the opportunity to conceive and develop an idea for a documentary TV series. Students learn how to develop and polish a written pitch deck and verbal pitch for it. Using the knowledge they learn from their Unscripted TV Storytelling and Master Classes, as well as the documentary techniques they learn throughout the program, we challenge students to structure and pitch a TV series that obeys both classical story conventions and unscripted TV requirements. Students create a thorough and engaging pitch of up to 5 minutes in length.

MFA Thesis Film Project

The culmination of the MFA Documentary Program is a graduate level thesis film on the subject and utilizing the film language and equipment of the student’s own choosing. Making use of research, story development and pre-production techniques, each student develops, produces, and directs a thesis film of up to 30 minutes in length.

Thesis Pitchfest

During the Thesis Pitchfest, students from the 1-Year Certificate Program and the MFA in Documentary Program pitch their thesis films to industry professionals.

Certificate Program Projects

Observational film.

Each student directs, shoots, and edits a visual story about a process or event, up to 3 minutes. We challenge students to work cinematically to utilize film’s most basic and most powerful language as they tell a small slice of life story using only moving pictures with no sound, effects, or music.

Web Series: Personal Digital Film

The Personal Digital Film explores 1st person filmmaking and the paradoxical demands of the social media audience who are most attracted to documentary videos that are extremely authentic and yet move at the speed of a social-surfers’ attention span. Students create a freestyle 3-minute digital video using any film language they choose. Filmmakers create these videos from their point of view and we encourage creative exploration.

Creative Content

Students explore the newest and most interesting new media trends such as podcasting, web series, immersive, and social media micro docs. After exploring several formats of creative content, each student experiments with the format of their choice, creating a short podcast, webisode, social media micro doc or other new media content.

Non-Fiction TV Series Pitch

For the Non-Fiction TV Series Pitch, students conceive and develop an idea for a documentary TV or streaming series. Students then develop and polish a pitch deck and verbal pitch for it. Using the knowledge they gain from their TV classes, as well as the documentary techniques they learn throughout the first semester, we challenge students to structure and pitch a docuseries that obeys both classical story conventions and TV series requirements. Students create a thorough and engaging pitch of up to 5 minutes in length.

Thesis Film: Independent Documentary

The culmination of the One-Year Documentary Program is a thesis film on the subject and utilizing the film language and equipment of the student’s own choosing. Making use of more intensive story development and a prolonged production period, each student develops, produces, and directs a thesis film of up to 15 minutes in length.

Workshop Projects

Interview film.

The Interview Film concentrates on character and uses an interview to tell a compelling story. Each director finds a person who needs something and is trying to overcome the obstacles to get what they need. The story can be happening now or from the past. Students must determine what kind of interview best reveals the story they are trying to tell, as well as what kind of presence they want to have in the interview. This short film is up to 5 minutes long.

6-Week Workshop Final Film

The 6-Week Workshop Final Film is an opportunity for workshop students to align visual and verbal storytelling to make a film that is important to filmmaker. Students may choose any subject and technique to tell an engaging story. Over the course of the program, students identify the subjects they find compelling, consider what they may want to explore, and prepare to produce their final film. This short film is up to 10 minutes long.

Please note: Equipment, curriculum, and projects are subject to change and may vary depending on location. Students should consult the most recently published campus catalog for the most up-to-date curriculum.

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

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Dissertations / Theses on the topic 'Film production'

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Wille, Kirstin. "Film production in Cambodia conditions and structure of the Cambodian film production market, demand and supply in consideration of film genre." Erfurt Thüringisch-Kambodschan. Ges, 2009. http://www.tkgev.org/film-production-in-cambodia.html.

Kieran, Jonathan P. "For Want Of: A Punk Rock Short Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1992.

Goksu, Emel Iraz. "Hemicellulose Based Biodegradable Film Production." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12605940/index.pdf.

Theuer, Timothy. "Submit: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/232.

Song, Dae Hyun. "Pre-Production, Production and Post-Production on Short Film "Draw Me Invisible"." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/321962.

Carter-Hansen, Jill, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Travelling light - with a case for discovery : the making of the film Songs of the Immigrant Bride." THESIS_FVPA_XXX_CarterHansen_J.xml, 1997. http://handle.uws.edu.au:8081/1959.7/680.

Harmon, Joseph C. "The Cuddle Club." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1970.

Thomas, M. "Gelatin film formation related to capsule production." Thesis, Cardiff University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372355.

BREA, JOANA DE OLIVEIRA. "SUBTLE RESISTANCIES: FILM CREATION AND PRODUCTION INSTANCIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12940@1.

Vales, Marcela. "The Golden Ring: A Narrative Film Production." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/285.

Gooch, Sara Anne. "Mediating the mill: steel production in film." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2879.

Stratton, Sabra. "Get Out of My Hair." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/978.

Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

Raymond, Mark C. "Going In circles." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1938.

Cheng, Alexandra. "TERMS: A Short Film." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1807.

Ho, Isabella Mei-yu. "The BFI and film production : a history of policy and practice from the Experimental Film Fund to the Production Board." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437470.

Xing, Zishuo. "Unfolding the Spectrum of Emotions." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1243.

Merz, Caroline. "Why not a Scots Hollywood? : fiction film production in Scotland, 1911-1928." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22054.

CASEIRO, IGOR AJUZ DE ABREU. "APPLICATIONS OF RFID IN A FILM PRODUCTION COMPANY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18171@1.

Nozaic, Claire. "An introduction to audio post-production for film." Thesis, Stellenbosch : Stellenbosch University, 2006. http://hdl.handle.net/10019.1/17405.

El, Khachab Chihab. "Technology, labor, and mediation in Egyptian film production." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:3968411a-84aa-4478-887b-b2c59be71522.

Mynatt, Trenton T. "Splitting Maul." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2176.

McNamee, Robert V. "Writing for film : the role of the Production Board of the British Film Institute." Thesis, University of Oxford, 1994. https://ora.ox.ac.uk/objects/uuid:bf4bcf2d-4120-4c59-a196-05d9f771a9dc.

Crockett, Emmett J. III. "Timelocked: A Thesis." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2600.

Ationu, A. "Comparison of fixed Acetobacter film fermenter systems." Thesis, University of Strathclyde, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382281.

Beaudet, Madison. "Can the Good Man Be Happy? The Production of "Beyond Memory"." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2129.

Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

Norwood, Tracy L. "The Blanket of the Dark." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2389.

Ziemsen, Eva. "Developing a learning model for teaching film production online." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/63862.

Holtmeier, Matthew. "The modern political film : biopolitical production and cinematic subjectivity." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3624.

Mulligan, Talley. "Lekhost a Tize: An Experiment in Film Production Methodology." ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/46.

Barquinha, Pedro. "Transparent oxide thin-film transistors: production, characterization and integration." Doctoral thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/5380.

Kaimal, Kiren G. "Light: Journey of a Lifetime." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/709.

Mackay, Jem. "www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8756/.

Elliott, Emma M. "Damn Spot: Navigating Emotional Trauma in the Body." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1252.

Lopez, Laura. "BAKER:THE MAKING OF AN INDEPENDENT THRILLER." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2096.

Johnson, Jeb E. Mr. "Exploring Hollywood Cinema: A Look at Cinematic Techniques and the Classical Hollywood Ideology." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/350.

Bentley, Christina Mitchell. ""THAT'S JUST THE WAY WE LIKE IT": THE CHILDREN'S HORROR FILM IN THE 1980'S." Lexington, Ky. : [University of Kentucky Libraries], 2002. http://lib.uky.edu/ETD/ukyengl2002t00033/00cmbthe.pdf.

Karamanlioglu, Mehlika. "Xylan-based Biodegradable And Wheat Gluten-based Antimicrobial Film Production." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12609376/index.pdf.

Barcsay, Katherine Eva. "Profit and production : Jane Austen's Pride and Prejudice on film." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5152.

Xu, Wei Wei. "Career management : a study of the Chinese film production industry." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/23025/.

Cliche, André. "Optimisation de la production de glace dans un film tombant." Mémoire, Université de Sherbrooke, 2005. http://savoirs.usherbrooke.ca/handle/11143/1304.

Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

Costello, Anthony John. "Lost nights." Thesis, 2014. http://hdl.handle.net/2152/26369.

Lee, Yun-ping, and 李芸萍. "An Observation on Taiwan Independent Film Production──A Case Study of HMC Film Productions." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/08057077932501480217.

Theuer, Timothy Louis. "Submit a narrative film production /." 2005. http://louisdl.louislibraries.org/u?/NOD,207.

Irvine, Andrew Robert. "Plus/minus." Thesis, 2014. http://hdl.handle.net/2152/26417.

KYAWK, DAD YIN, and 趙德胤. "Low-Cost Independent Digital Film Production." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21495567688747565685.

Kaeja, Allen. "Transcending media : adapting the dance production 'Asylum of Spoons' from stage to film /." 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR51545.

Edwards, Timothy Serpell. "Pō." Thesis, 2014. http://hdl.handle.net/2152/26357.

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What you need to know about The Three-Body Problem before watching 3 Body Problem

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With Netflix’s 3 Body Problem imminent, you might naturally be intrigued by The Three-Body Problem , the science fiction novel by Cixin Liu.

First of all: I cannot explain why the show is 3 Body Problem and the book is The Three-Body Problem . Frankly, this decision drives me bananas. But it does make distinguishing the two in articles like this one easier, and as you’ll soon see, things are going to get complicated enough as is.

What is The Three-Body Problem about?

The simple version is that it’s a story about humanity’s first contact with an alien species. What makes it special is that it’s a very odd first contact story, centering on a wildly immersive VR video game and how it may be connected to the mysterious deaths of the world’s leading scientists. First contact is the light at the end of the story’s tunnel: read the back of the book and you know it’s coming, but how it happens is something you discover by reading.

Why is it such a big deal?

First serialized in China in 2006, The Three-Body Problem quickly racked up accolades upon its 2014 English debut, becoming the first Asian novel to win the Hugo Award for Best Novel. But unusually for such a hard sci-fi novel, The Three-Body Problem quickly escaped the orbit of speculative fiction circles and received glowing write-ups in mainstream press outlets like The New York Times , NPR , and, famously, a shoutout from President Barack Obama . Bob’s Burgers even did a Three-Body Problem episode . It was a big thing!

It’s also a work that some would call unadaptable: The Three-Body Problem has some weird shit going on in its VR game and eventually sets up a conflict that may or may not span centuries.

Remind me what you mean by ‘hard’ sci-fi.

The Three-Body Problem is a brainy book that is very committed to elaborating on the work of a lot of smart characters solving very opaque mysteries. This does not mean it’s impenetrable to people uninterested in becoming conversant in astrophysics, but it does mean there’s quite a bit of what I call “process porn,” focused primarily (but not exclusively) on existing and/or plausible technology. For the most satisfying version of that, consider films like Arrival or even Spotlight (a great movie for making spreadsheets thrilling). How well The Three-Body Problem ’s take on it works for you will depend on how much you connect with translator (and very good novelist in his own right ) Ken Liu’s interpretation of Cixin Liu’s prose.

It helps that the book begins vividly in the past, during China’s Cultural Revolution in the 1960s — telling a small, personal tragedy that reverberates throughout the first novel as it reaches into the present day and beyond. With that human core in place, it’s easier to get lost in The Three-Body Problem ’s trippy mysteries, and grasp their shocking consequences.

I’m looking up characters from the book and can’t find many in the show. What’s up with that?

Part of what the Netflix adaptation does is relocate a big chunk of the action from China to London, which means lots of changes that ripple outward. Characters are race- and genderbent or reworked and given different names, which makes finding one-to-one analogues for some characters very difficult. But there are very practical concerns that also needed to be addressed, according to the showrunners, and these changes account for that.

“The characters in the book are all spread out in a way, but they don’t know each other, and they don’t connect with each other. Which works really well in a novel, [where] you get inside someone’s head,” co-creator D.B. Weiss told Polygon at a recent press event. “And in television — it’s hard to think of a television show about people who don’t know each other and never meet. Television is about people who know each other, who have strong feelings about each other, interacting with other people about whom they have strong feelings. So we kind of needed to make that happen.”

How much of The Three-Body Problem will 3 Body Problem season 1 adapt?

Pardon? But what if there’s another season?

Oh, there are more books. The Three-Body Problem is the first in a trilogy, known as Remembrance of Earth’s Past. Netflix’s 3 Body Problem is actually an adaptation of the entire trilogy, folding in the novel’s two sequels — The Dark Forest and Death’s End — into its narrative. The first season of the show will cover The Three-Body Problem but will also introduce threads from later books. It’s a comprehensive adaptation, not a piecemeal one.

So you mean it’s done? There’s an end?

Yes, I do mean that. Don’t worry; while David Benioff and D.B. Weiss are most notorious for what happened when the former Game of Thrones showrunners ran out of track laid by their source material, that problem is not present here. They’re also not the only ones in charge, thanks to co-creator Alexander Woo, who has previously worked on excellent series like Manhattan and Wonderfalls . 3 Body Problem will live or die by the adaptation choices made, not for lack of material.

3 Body Problem will premiere on Netflix on March 22.

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