Showing posts with label 100 DATES. Show all posts
Showing posts with label 100 DATES. Show all posts

Saturday, 26 February 2022

Part 2: Spirits in the Material World - The L.A.W. GraphicNarrativ Seminar Series

 


During the 2nd lecture of the series we looked at the following sources of inspiration and storytelling devices:

We examined how Classic Texts (Western Cultural Bias) can be adapted to entice a new audience to engage with these heritage storylines. We reviewed the Manga Shakespeare (Hamlet and The Tempest), Heart of Darkness and At the Mountains of Madness. We then went on to look at how artists have taken heritage texts and re-imagined them as visual communication. Bryan Talbot's Alice in Sunderland, Watchmen and Maus have moved the graphic novel into the status of classic literature. Finally Julie Doucet's New York Diary brings the autobiography as unvarnished testimony of the life of a struggling immigrant trying to make it as an artist. How the personal can become the political.



Publishers of Graphic Novels 

Self Made Hero 

Draw & Quarterly 

Jonathan Cape 

Fantagraphics 

Titan Books 

Myriad Editions

Top Shelf



Graphic Novel Creatives

Alan Moore Watchmen, V for Vendetta and From Hell

Dave Gibbons Watchmen & Kingsmen The Secret Service

Ian Cullbard At the Mountains of Madness

Art Spiegelmann Maus, Maus II and In the Shadow of No Towers

Bryan Talbot Alice In Sunderland and Dotter of Her Father's Eyes

Julie Doucet My New York Diary and Dirty Plotte


References

Doucet, J. (2018) Dirty PlotteFirst edition edn. Montreal, Quebec: Drawn & Quarterly.

Moore, A. and Berlatsky, E.L. (2012) Alan MooreFirst printing edn. Jackson: University Press of Mississippi.

Moore, A., Gibbons, D. and Klinger, L.S. (2017) Watchmen annotatedBurbank, CA: DC Comics.

Prescott, T. (2013) 'Dotter of Her Father’s Eyes by Mary M. and Bryan Talbot (review)', James Joyce quarterly, 50(3), pp. 907-911. doi: 10.1353/jjq.2013.0041.

Spiegelman, A. (2011) Maus25. anniversary ed. edn. New York: Pantheon Books.

Talbot, B. (2007) Alice in Sunderland1. ed. edn. Milwaukie, OR: Dark Horse Books.



Proposition Time Part 2

We looked at how you can use major storytelling themes to help you to add extra dimensions to your earliest memory story exercise from the last proposition. 

From classic storytelling structures here are the major themes interpret. 

• Select one theme only 

• How do they change your story? 

• Do they make the mundane and ordinary more interesting and appealing?

Connecting your earliest memory/ autobiography with a major narrative theme is a good way to help you to expand your story to open up new possibilities.

1.    Overcoming the Monster

2.    Rags to Riches 

3.    The Quest

4.    Comedy

5.    Tragedy

6.    Rebirth


Writing A Graphic Novel

Government Agency 100 DATES established for 6 years and endorsed by the UK State. The company matches genetically compatible people who wish to marry and produce offspring who will be fully immune to the SARs 10 VIRUS. I decided to create characters that were hiding aspects of their personalities and histories that made them untrustworthy and subject to changes in trajectory and motivation. 

When I started creating ideas for a graphic novel back in 2010 I knew that I had to use the characters in the story to help me to craft a realistic and believable world for them to 'live' within (World Building). The Dramatis Personae is a cast list and I tackled using character archetypes to assist me in the task. In describing these common character types, symbols, and relationships the Swiss psychologist Carl G. Jung employed the term archetypes, meaning ancient patterns of personality that are the shared heritage of the human race.” Christopher Vogler

 

CHARACTER ARCHETYPES:

HERO

The word hero is Greek, from a root that means "to protect and to serve" (incidentally the motto of the Los Angeles Police Department). A Hero is someone who is willing to sacrifice his own needs on behalf of others, like a shepherd who will sacrifice to protect and serve his flock. At the root the idea of Hero is connected with self-sacrifice. (Note that I use the word Hero to describe a central character or protagonist of either sex.)


MENTOR
An archetype found frequently in dreams, myths, and stories is the Mentor, usually a positive figure who aids or trains the hero. A Wise Old Person. This archetype is expressed in all those characters who teach and protect heroes and give them gifts.

 

THRESHOLD GUARDIAN
All heroes encounter obstacles on the road to adventure. At each gateway to a new world there are powerful guardians at the threshold, placed to keep the unworthy from entering. They present a menacing face to the hero, but if properly understood, they can be overcome, bypassed, or even turned into allies. Man y heroes encounter Threshold Guardians and understanding their nature can help determine how to handle them.


HERALD
Often a new force will appear in Act One to bring a challenge to the hero. This is the energy of the Herald archetype. Like the heralds of medieval chivalry, Herald characters issue challenges and announce the coming of significant change. At the commencement of war a herald might be called upon to recite the causes of the conflict; in effect, to provide the motivation.

 
SHADOW
The archetype known as the Shadow represents the energy of the dark side, the unexpressed, unrealised, or rejected aspects of something. Often, it's the home of the suppressed monsters of our inner world. Shadows can be all the things we don't like about ourselves, all the dark secrets we can't admit, even to ourselves. The qualities we have renounced and tried to root out still lurk within, operating in the Shadow world of the unconscious. The Shadow can also shelter positive qualities that are in hiding or that we have rejected for some reason. The negative face of the Shadow in stories is projected onto characters called villains, antagonists, or enemies.

SHAPESHIFTER
People often have trouble grasping the elusive archetype of the Shapeshifter, perhaps because its very nature is to be shifting and unstable. Its appearance and characteristics change as soon as you examine it closely. Nonetheless, the Shapeshifter is a powerful archetype and understanding its ways can be helpful in storytelling and in life. Heroes frequently encounter figures, often of the opposite sex, whose primary characteristic is that they appear to change constantly from the hero's point of view.


ALLY
Heroes on their journeys may need someone to travel with them, an Ally who can serve a variety of necessary functions, such as companion, sparring partner, conscience, or comic relief Its useful to have someone to send on errands, to carry messages, to scout locations. It's convenient to have someone for the hero to talk to, to bring out human feelings or reveal important questions in the plot. Allies do many mundane tasks but also serve the important function of humanising the heroes, adding extra dimensions to their personalities, or challenging them to be more open and balanced. From the dawn of storytelling, heroes have been paired with friendly figures who fight at their sides, advise and warn them, and sometimes challenge them.

TRICKSTER
The Trickster archetype embodies the energies of mischief and desire for change. All the characters in stories who are primarily clowns or comical sidekicks express this archetype. The specialised form called the Trickster Hero is the leading figure in many myths and is very popular in folklore and fairy tales.


100 DATES Dramatis Personae (revised 2022)

 

London/ New London (ORDINARY WORLD/ SPECIAL WORLD)

Very old capital city of England. It is a main character and the atmosphere of the city should sparkle on every page. It is alive and has a supernatural effect on some of its population. It is the inspiration for most of the story. This city and it landmarks will be responsible for the look of the story and the dynamism within.

Parts of city are no go areas (as the mass burial grounds are toxic) and the Thames has flooded 12 swallowing up most of East London. Land is at a premium and new buildings must be at least 38 storeys tall.
There is a scheme to build a wall around the city (linked to fear of the strain SARs 10 VIRUS)  

 

 

William Frank (nom de plume Frank Hinds) (HERO 1/ MAIN PROTAGONIST)

Age in his 30’s

Height 6’5”

Born in August

Dark Brown eyes, Shaved head, Heavy build, Smartly dressed

Tattoo of a heart on their left breast     

Co-Director of Government Agency 100 DATES

Secretly writing online mystery “Ill Met by Moonlight” under name of Frank Hinds for Virtual Glass Publishing       

Passionate about music

Lives in a flat in the Barbican’s Shakespeare Tower

Originally comes from St. Albans

No parents (Died because of the Genetic War)

Has 1 Sister who has 2 young children (The children are unofficial)

He has headaches and there appears to be no cure   

He has a terrible secret from his childhood this is the cause of his headaches

These headaches cause delusions and he has invented an alter ego ‘Detective Francis’. He consults a psychiatrist at Bart’s Hospital for help and uses counseling sessions to help him to recover

He falls in love with Kathleen Tilbury and tries to romance her with special dates (their love is forbidden)

He does not trust the UK Security Services despite working for one of them.

 

 

Detective Frank (William Franks ALTER EGO)

We never see Detective Frank directly only his shadow or reflection (distorted)

His actions are those of a Super detective

This fantasy that appears when William has his headaches   

Has been an escape for William since his troubled upbringing and the death of Maxi Patrick.

This fantasy begins to take over his mind. William’s fantasy life threatens his sanity.

 

 

Kathleen Tilbury (HERO 2)

Age in her 30’s

Height 5’7”

Born in May

Light brown eyes

Hourglass figure

Long red hair extensions

Glasses

Wears sports gear  

Freelance photographer/ writer. Major client: The People Planet Guides Works as photographer and video tech for Agency 100 DATES         

Passionate about music

Lives in rented flat in Finsbury Park

Originally comes from Norwich

Split up from long term boyfriend 18 months previously

No parents (Died because of the Genetic War)

No siblings

Has been reading Frank Hinds online novel     

Childhood friend of Desta Finn

She falls in love with William Frank (their love is forbidden)

Commissioned to produce photos for the New London city guide, which puts her life in danger

Suspects Desta Finn is hiding an awful secret

Has no idea her colleague Nat O’Brien is attracted to her

 

 

Jon Doe (ANTAGONIST then ALLY)

Age in his 50’s

Height 6’

Born in April

Dark brown eyes,

Short grey hair

Heavy build dresses like Lt. Columbo    

Detective Inspector in the London Metropolitan Police 25 years on the job

Lives in police station house in EC2

Originally comes from Bermondsey

Divorced 5 years ago

Ex wife does not speak to him

Has also been reading Frank Hinds online novel

A Martial arts expert        

He becomes obsessed with Desta Finn and has a secret affair with her

He knows William does not like him and this makes him angry

He thinks William requires surveillance

 

 

Desta Finn (THRESHOLD GUARDIAN/ SHAPESHIFTER)

Age in her 30’s

Height 5’6”

Born in June

Cropped Black hair light brown eyes

Business suits

Slight build

Tattoo Scar on left breast 

Co-director of 100 DATES Company set up (sanctioned by the State) 6 years ago after graduation from MBA course

She inherited a fortune from her ‘Uncle’ Bruce Wilkinson     

Went to school with Kathleen and Jacqui Chance

Lives in flat in Barbican Shakespeare Tower

Originally comes from Norwich

Adopted but trying to trace her birth mother

Aggressive and jealous of others

Reads murder mysteries

Jealous of Kathleen and William’s secret relationship

Romantic partner is James Bent

Has secret affair with Jon Doe

Her childhood friends are concerned that she has untreated mental health issues

 

 

Natalie (Nat) O’Brien (HERALD)

Age in her 30’s

Height 5’6”

Born in January

Brown eyes

Long brown hair extensions

Spangly earrings

Wears business suits

Slight build with withered legs

Uses a wheelchair  

Publisher of The People Planet Guides   

Lost use of legs in car crash with police van 10 years ago

Has an asthmatic symptom

Lives with husband John in Berkhamsted, Herts

Originally comes from Tring

Brother is a journalist who disappeared in South Africa 5 years ago

Always giving unwanted advice to Kathleen

Suspects that Kathleen knows more about what happened to her brother when he disappeared

Secretly in love with Kathleen

 

 

Hugh Wycombe (ALLY)

Age in his 30’s but looks like he’s in his 50’s

Height 5’9”

Born in January

Brown eyes

Flat top afro

Slight build

Scruffy wears baseball cap that promotes live music ‘Keep Music Live’     

Blues musician

Writes songs and plays Electric Bass and Keyboards  

Best friend of William Frank

Married to Claire Wycombe

1 son Charles with his wife expecting a girl

Once toured US and met Herbie Hancock and Miles Davis

Successfully beat addiction to Heroin

Used to write comic strips with William when they were boys

Former member of the Messian Cult     

Introduces William and Kathleen to other musicians and special gigs

Knows William’s secret but has not revealed this to anyone

 

 

Pompas Glass (SHADOW)

Age in his 30’s

Height 6’

Born in February

black eyes

black hair with blond hi-lights

Well built

Glasses

Trench coat with bright red belt  

Guardian media reporter/ owns online publishing house that Frank Hinds works for    

Eton School educated

Oxford graduate expert in hi-tech surveillance

Lifelong friend of Sleaze Jones

Having affair with Sleaze Jones’ wife

Uses technical knowledge to fabricate stories and cause cyber catastrophes

        

 

Jobsworth (ANTAGONIST/ HERO 3)

Branson/Musk Series 1010001 Robot/ becomes an android

Robots carry out most of the menial tasks in a city depleted of it human inhabitants during the early stages of the Genetics War

Height 8’

Plastic polymer chassis

Human like face but has 4 arms and wheels instead of feet

Can levitate for short periods     

Caretaker robot in Barbican flats where Desta and William live       

A machine that was given an extra conscience chip and starts to form a human type self awareness 

Used to show the moral depravity of the characters and human society

Part of a sub-plot on surveillance and civil rights

Might be able to time travel

Worked at Temple of Michael Messian

 

 

Augustus Winter (MENTOR)

Age in his 40’s

Height 5’11” Eyes dark brown

Well dressed Plays sax clarinet and flute

Composer

Has own online jazz music site.   
Gigs around London and New London

Becomes a friend with William through Hugh Wycombe

Loves to drink bourbon neat      

Williams and Kathleen’s passion for music leads to this friendship

 

 

Annie Jones (SHAPESHIFTER)

Age in their 20’s

Height 5’5”

Born in May

Pink eyes

Bright white hair

Agile and insatiable sexual desires       

Trophy bride         

Former underwear model

Wants to have babies with Sleaze but is drawn to other more powerful men

Dreams of being worshipped by men

In secret joins 100 DATES agency to meet extreme sexual partners

Part of the sub-plot on secret identity ID chips in skin

 

 

Sleaze Jones (HERALD)

Age in their 30’s

Height 5’11”

Born in February

Brown eyes

Short brown hair

Thin moustache

Well built

Beltless trench coat

Sun Media reporter/ secret police informer     

Eton School educated

Oxford and MIT graduate expert in hi-tech surveillance

Is the handler of Jobsworth and several other android operatives?

Incidental character that forms part of a sub-plot on surveillance and civil rights

He likes androids and thinks they promise a great future for humanity

 

 

Anil Singh (TRICKSTER/ ALLY)

Age 30 -35

Height 5’9”

Very long brown hair

Stout but powerful 

Doctor of Psychiatry at St. Bart’s 

From Wembley

World authority on Psychotherapy

Met William at Comic convention at the Barbican and became they friends.

He lives in Barbican Lauderdale Tower

Tries to help William recover from his mental delusions – suggests surgery

Part of the sub-plot on identity ID chips in skin

 

 

Maxi Patrick (ORDEAL)

Age 8 (deceased)

Height 5’

Blue eyes

Blond hair

Very skinny

Shorts and T-shirt  

Was a school boy and attended Moonfleet Middle School     

Adopted when small child

Had unknown sister

Heart shaped birthmark on left shoulder

Lived in St. Albans

Bullied at school

Died aged 8  Maxi Patrick’s death is the reason why William Frank has a secret

 

 

Michael Messian (HERALD/ SHADOW/ CLIMAX)

Age Unknown

Height approx 6’ 6”

Black eyes

Long chestnut coloured hair

Wears floating robes and head band

Body very hairy

Voice is enhanced by special implant    

Prophet for the people – Charismatic leader of the Temple of Eternal Redemption

Private donations and drug dealing in 3HC keep this organisation going  

Unknown he appeared in Bad Lands 10 years ago and set up his Cult

Works with the establishment and outside the law

Has previous business relationship with Hugh Wycombe during Hugh’s Heroin addiction

He has connection with Jobsworth and other androids who spy for him    

He causes problems for many characters in the story

He has deadly battle with Jobsworth
HE IS THE CAUSE OF EVERYTHING


Wednesday, 2 April 2014

Stories, Fables, Myths & Legends - Can graphic moving image access emotion through narrative?


13.08.2013 Karl Foster MAVA – Unit 2 Reflective Essay

How I got here
I am a storyteller. I’ve found meaning through reviewing; making and exploring storytelling formats through science, religion and personal relationships. I want to know what happens next. A good story will manipulate this need to know and draw you in. Masterful storytelling will change your life. That has been my experience and that is why I want to join this elite group of conjurors. The seven basic plots have been told and re-told over the centuries, mutating to meet the concerns and desires of the assembled audience. I have absorbed the contents of novels, poems, comics, movies, plays and biography and filtered this output to help me find my own voice through a personal visual language. When I am creating art I feel that I have a purpose and that my life has meaning. The rest of my life is pretty mundane when compared to the creative process and intellectual explorations.

Influences - in what way do they affect me?
At the heart of my interest is the search for that feeling of satisfaction where I can experience a sense of success and development. The cultivation of my mind in my search for meaning is as necessary to me as breathing. I have matured a great deal over two decades due to my responsibility to pass on knowledge and lead out keen and not so keen minds. My Grandfather drummed the ideal of education as a means of personal liberation into me; my life achievements are proof of his credo. My education was aided and abetted by sitting riveted in front of the film language pioneered by Campion, Ford, Hitchcock, Lean, Lynch, Kubrick, Kurosawa, Roeg, Powell, Welles and Wyler. This ongoing investigation has been focussed on the film noir genre over the last year.

Influences - why are they important to me, what do they really mean?
When I started the course I wanted to develop my skills through a medium I thought could best express my thinking. I wanted to produce a Graphic Novel called 100 DATES. I believed that making a novel whose narrative is related through a combination of text and art using a comic strip form was my best course of action. I reviewed the production time of the best book length comics and discovered that some stories took several years to write and draw. I was aware that my drafting skills might not be proficient enough for me to complete the 10 stories as I’d planned. I went to seminars featuring graphic artists like Craig Thompson (Blankets & Habibi) and Shaun Tan (The Lost Thing & The Arrival) looking carefully at their work. I also absorbed the output of Dave McKean (Cages & Mirror Mask) and Joe Sacco (Palestine & Footnotes In Gaza) and it became clear to me that my working methods would not help me to create an effective outcome. 100 DATES plot was originally conceived as a love story set in a dystopian society. Now my plot also has a distinctly noir quality. I knew I had to find visual cues to help the audience to engage with my original content. Nobody would know the context so I had to find ways to make my project accessible. I knew I had to try to make the viewer care about the content as much as I do. No easy task and much frustration and anxiety have visited me since January 2013. Despite these worries I know I will never give up on this objective.

What I did
‘100 DATES’ is a story of love in unusual times. I designed characters (dramatis personae), developed their back-stories and the ‘plausible world’ they inhabit. I looked closely at science fiction writing and dystopian fantasies to add believable drama and narrative drive to my story. Orwell, Philip K. Dick and Alan Moore heavily influenced me. The story is in plot form to help me produce the drawings for a graphic novel. 100 DATES was originally inspired by my own romance with my wife. I felt that no one would want to read about two strangers wonderful relationship so I decided to retell the story filtered through a dramatic adventure set in an alternate world that I could fully control. After a crit with Christopher Brown in March 2012 I concluded that 100 DATES text could be used for a screenplay and my illustrations will contain the information for a Storyboard. This ‘blueprint’ helped me to depict the sequence of the key scenes (setting, dialogue and action). It has since evolved into a moving image sequence. More accurately put my project is an animated storyboard trailer.

Analysis -why have I written an original story?
As this project has progressed I have had some doubts about my decision to present an original piece when I could have adapted someone else’s source material. This is the type of work I completed during my 13 years as a freelance illustrator so I am an expert at this. However I wanted my time on my MA to serve me and me alone. This was a risk but I knew I could use my new knowledge in the long run in my teaching and creative practice. I decided that originality was the whole point of pursuing my studies at this level. My passion for my personal vision could not be quelled. Recently I quickly created a title sequence storyboard for the 1947 film Black Narcissus. This was a very useful exercise and it helped me fully realise that I have not been making a title sequence piece. Once you can name what you are doing then you know exactly what to do next.

Analysis - why did I choose to create a work that was so different from my professional practice?
I know that if I had employed my previous approaches and ‘style’ to help me make the artwork for this project I would have probably been more successful. However I wanted to do something that would really stretch me. This is something that I have encouraged my own students to pursue over the last 14 years. My obligation was to renew myself and to work in a manner that was relevant to my teaching. I could have played it safer but I think I would have despised myself for doing that.

What I’ve learnt
It is my assertion that graphic narratives will become the dominant form of storytelling. If the human race wants to stay literate it will have no choice. It is part of our evolution. All our major ideas will be conveyed using visual communication. This trend has been on the increase for several years.
Using storyboard templates helped me breakdown the visual structure of my trailer. It helped me to look at the contrast, affinity, space, line and shape, colour and movement essential for engaging content. The book The Visual Story by Bruce Block has helped me to adapt my illustrations in line with the established conventions of Film and TV visuals.

Process - why is sound so important?
One of my observations at the start of the course was “if only I could get sound into these 2D illustrations.” I had the sound for this project in my head. I thought about making a CD that could be played while the reader enjoyed my graphic novel. Film 4 interviewed Director Danny Boyle and he spoke of how the sound was the most important innovation in cinema. He claimed that 60% of the film story was conveyed through the sound alone. If you’ve ever seen the opening title sequence for Sergio Leone’s 1969 film Once Upon A Time in America you will understand what Boyle means. It excites me to think that my sound design will be used to manipulate the emotions of the viewer of my project. I have composed my own ‘House’ music theme that is used within the project.

Process - timing and length of trailer how was this decided?
My research paper focussed on Film Title sequences where I reviewed and critiqued the title sequence work of designers E. McKnight Kauffer, Saul Bass, Kyle Cooper, Daniel Kleinman and Tom Kan. My project is timed-based therefore the duration of the piece is of paramount importance. My first instinct was that the viewer wouldn’t engage with a piece that was over 5 minutes long and also could I produce the content for that amount of time. The length of title sequences varies but the average duration is 129.6 seconds. These examples bear this out, The Lodger – A Story of the London Fog 1927 – 31 seconds, The Man with the Golden Arm 1955 – 80 seconds, Touch of Evil 1958 - 214 seconds, Casino Royale 2006 – 186 seconds and Enter The Void 2009 – 137 seconds. I have settled on a 180 seconds piece.

Process - how do you balance use of software with the need for experimentation and research?
Rather annoyingly I’ve found that my use of digital software as a part of the making of my project has been questioned and I get a sense of hostility towards the use of these established professional tools. All I can say is that the work could not have been created without me extending my exposure to these tools. I haven’t blindly relied on software I’ve merely used it to help me communicate my thinking. At the heart of this project is the idea. I have approached this aspect of my studies as a researcher and experimental imagemaker. No matter what medium I create with if my ideas are weak then the work will be weak. I hope that my work will speak for itself and exonerate me here. We will see.

Process - what’s the appeal of using CCTV as a camera?
The trailer plays out seen through the ‘gaze’ of surveillance equipment. These ‘eyes’ watch us all of the time but also my characters are observing each other. The ‘gaze’ is intended to exaggerate the paranoia and claustrophobia felt by the chosen few in my story. This parallels our own experiences and our fear of the erosion of civil liberties. Note the British Governments recently introduced CCTV Code of Practice as part of The Protection of Freedoms Act 2012 for England and Wales.

Process - why does Type divide opinions?
All the way through this project my use of type has divided opinion. I feel totally at ease with the incorporation of type into illustration when it is used appropriately. Some ideas cannot be conveyed by images alone. As the viewer is unaware of the context when they approach this project the exposition and text based references to the main characters opens up the opportunity for the viewer to grasp my intentions. I have discovered that there are conventions in film and TV production for the placing of text restricted to specific width across the screen. I have adapted my project to ensure that the text follows these rules because this guides the viewer in their understanding of the story.

Conclusion
My initial question might have been superseded by a more urgent desire to create a moving image piece of design that contains audio elements. Looking at the writing of Christopher Booker and Joseph Campbell and drawing heavily on the 15 hour documentary by Mark Cousins’ ‘The Story of Film’ I want to establishing whether the format of moving image output is more relevant to the future direction of storytelling than more traditional forms.

I have completed my animated storyboard to promote a new story. The desire to engage or entertain the gathering audience in the auditorium when coupled with the designer or artist’s eye for sensitive and meaningful image sequences raises not only the quality of the story but also gives us pause to reflect on the significance of what I call the ‘introduction etiquette’ of cinema. The communication of complex ideas to a diverse but visually sophisticated audience is still essential. We still need our emotions catered for and to that end the incorporation of sound with vision is now the main focus of my personal working agenda.

I think it is vital for my development that I test my output with a range of audiences, using feedback to assist me in the production of the next formats/stories. This is the type of work I wish to continue to create. Post course I intend to adapt a novel as a screenplay and to complete one for my own story 100 DATES. I will build a portfolio show reel of my work and use this to help undergraduates discover the power of this medium. My academic career has been enriched by the challenge of proving myself at this level of study. I conclude my course with many problems solved but also I have discovered a brave new world to explore beyond the post-graduate level.


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