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    The evolving aesthetics of the moving image in vertical video online : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Media Studies at Massey University, New Zealand
    (Massey University, 2023) Maric, Milan
    Contemporary transformations in the aesthetics associated with online vertical content are a prime example of remediation between mobile video recording technology, diversification of online distribution platforms, and creators’ enthusiasm to explore new video forms in exchange for higher audience reach and engagement. By deconstructing texts available on YouTubeVEVO and Netflix through the lens of Applied Media Aesthetics, this research examines the choices that professionals make while they utilise conventions associated with online vertical video and its consumption on a mobile screen. Additionally, through interviews with experienced practitioners, I survey the principal differences in production of widescreen and vertical content, and look at potential benefits and limitations of a smartphone as a primary recording device in the professional production workflow. Lastly, as I plan, film and edit six original artefacts, I reflect on the affordances of a vertical frame through the eyes of a cinematographer on set and editor in post-production. The mixed methodology provides a robust framework for examining the principal benefits and limitations of a vertical frame in a professional production workflow and for answering the key thesis question: how do framing, filming technology, and choice of distribution platforms influence media professionals' aesthetic decisions while creating online vertical content? Throughout the research, I re-examine assumptions about acceptable screen aesthetics commonly held by media professionals and provide insights into the remediation of widescreen content for a vertical frame.
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    "What grace we have fun" : an examination into the feasibility of presenting medieval religious drama to a modern provincial New Zealand audience : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Medieval Studies at Massey University
    (Massey University, 1998) Collins, Brian Alfred
    This thesis centres on the presentation, with appropriate music, of some medieval religious drama before a public audience at the Church of the Nativity, Blenheim on 23rd November, 1996. The three pieces - the Limoges Trope of the Shepherds at the Manger, the Fleury Play of Saint Nicholas and the Three Scholars, and the Secunda Pastorum from the Towneley (Wakefield) Cycle - were translated for the occasion into Modern English. The aim of the performance was to see how well members of a twentieth-century, provincial, New Zealand audience would respond to a type of drama outside their normal cultural experience. The first two chapters of the thesis outline the considerable task of preparing for the presentation, covering such aspects as the background reading of scholarly views on medieval religious drama and especially on the chosen texts, the process of translation from Medieval Latin and Middle English, the choice of venue, the plays' characters and the selection of actors to portray them, the design of the set and the costumes, the acquiring of properties, the importance of music and the arrangements of the banns (advertising) Chapter III describes the actual performance, while Chapter IV attempts to evaluate the impact and effectiveness of the project, discussing as a test case the gifts of the shepherds to the Christ-Child in the Secunda Pastorum with regard to scholarly interpretations, director's intentions and audience reactions. The Conclusion points to the success of the project, but emphasises that a modern director of medieval religious drama needs to be aware constantly of a number of issues to be faced in presenting such plays: the place of scholarly opinion in relation to production practicalities, language change as it affects translation, and the advantages and drawbacks of adaptation to the tastes and pre-conceptions of twentieth-century audiences who may enjoy a limited understanding of medieval times. The thesis ends with the hope that considering these issues will encourage future undertakings, not prevent them. The Appendices to the thesis include the writer's translations of the plays chosen for performance and the Commentator's script for the 23rd November presentation.
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    Handel opera presentation, past and present : a thesis presented in partial fulfilment of the requirements for the degree of Master of Music at Massey University, Wellington, New Zealand
    (Massey University, 2004) Tweedie, Shannon
    What differences, if any, exist between the performance of Handel opera during his lifetime, and contemporary performances? To what extent do these differences reflect the need to adapt Handel's operas when performed out of their original context, and how does knowledge of original performance practices enhance the singer's ability to interpret and present characters in performance? This study investigates the ideas outlined above, exploring the social and cultural environment of opera seria, its conventions, and the way in which Handel's operas were presented during his lifetime, later providing a comparison with contemporary productions. It aims to enhance understanding of the production and musical aspects of staging a Handel opera, and to illustrate how this knowledge can assist in performance.
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    Hypervideo : interface design for collaborative documentaries : exegesis submitted in partial fulfilment of the Master of Design at Massey University, Wellington, New Zealand
    (Massey University, 2014) Turnidge, Tim
    Hypervideo is developed in response to the collaborative mobile-mentary 24 Frames 24 Hours. Through practice-led research an online interface is designed that creates a dynamic remix of user submitted and workshop generated videos. By means of leveraging contemporary web technologies such as APIs, metadata and video databases the interface presents an interactive documentary as a way of exploring innovative possibilities of web 2.0. The interface facilitates a unique viewing experience, which encourages new ways of experiencing and inspires the creation of mobile movies. This interactive documentary film form is influenced by Soft Cinema (Manovich, 2002) and the Korsakow system (Thalhofer, 2000). The interface is developed through an iterative design process in response to the emerging significance of metadata in online viewing formats and the vertical/horizontal video design problem.
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    Illusions of liveness : producer as composer : an exegesis submitted to Massey University and Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Musical Arts In Composition
    (Massey University, 2013) Logan, Sam
    The practise of creating music for the recorded medium has been a fluid and constantly changing enterprise since its inception. Emergences of new studio technologies over the last fifty years have spurred new cultures, philosophies and approaches to music production and composition, ultimately seeing a merging of the once disparate roles of producer and composer. It is this contemporary, technology-informed new role of producer-composer that brings with it discussion - for much of which there is no general consensus - over issues pertaining to perceived liveness, the producer-composer’s control over the resulting sound, and most contentiously the use of music technology itself: its transparency and its legitimacy as substitutions for real instruments. These are all fluid and complex issues and this paper does not attempt to provide answers for, nor take a definitive stance on them other than in the sharing of opinions formed from my own experiences in applying production as composition to the creative aspect of this project. In this paper I seek to share some of the current discussion regarding production-as-composition, in light of my own compositional experiment, which strives to create a simulation of real-performance via almost entirely artificial means within an idealised, hyper-musical sonic environment. By bringing together real musicians and virtual instruments within a recorded track and edited via music production technology, the experiment aimed to produce an illusion of liveness.