LibGuides: Assessment Support: Examples of an Exegesis

Examples of an Exegesis

Examples

Spatial Truth
Over the course of this web exegesis, I will be exploring blocking schemas and tools which a filmmaker can use to communicate meaning to audiences - specifically changing relationship dynamics and internal character states, as well as how editing and coverage can be designed to work hand-in-hand with this style of staging. Principally, I’m also interested in the relationship between the long take and depth staging, and if spatiotemporal continuity can be severed to emphasise meaning. This analysis will be conducted through the lens of my experience directing my dramatic short, Gorgo. It is my intention that my own experience will provide a practical level of insight into some of the unique considerations that a director must be aware of when attempting to utilise depth staging.

Cutting Queer Futures
This is a romance story. About queerness. About queering. This is a drama. About making choices - editing life. This is a historical re-enactment. About artifice. About time. This is whatever I tell you it is. Whatever you want it to be. This is none of that really. This is an argument, fighting for nothing in particular and the particularities of nothingness. This is the future, channeled through the past and trapped in the present.

Authentically Stereotypical: Interrogating a Potential Personal Methodology for the Representation of Underrepresented Humans in Australian Screen Culture
This Exegesis examines whether and how screenwriters might best tackle the representation of underrepresented cultural groups, particularly when writing outside of their own cultural context, and applies specific.
screenwriting theories to the task of nuanced and authentic cultural
representation.

Quiet Time: Removing the Human Voice from Cinema - Exegesis and Screenplay for the film THE BROKEN BRANCH
... "In researching ways of creating ‘pure’ narrative cinema with little or no dialogue I have primarily drawn from two kinds of sources; the writings of film practitioners who in addition to working successfully in film have also attempted to formulate coherent theories of film story and grammar, and also films that have employed silence to varying degrees and in differing contexts to achieve an effect we might call cinematic."

Screen Language in the Dialogue-Based Short Film
I’d like to use the project to explore how the decisions a director makes around shooting a dialoguebased narrative effect an audience’s narrational and emotional engagement with the piece. Since the majority of a director’s decisions relate to the work’s screen language, I hypothesise that, if used appropriately, screen language is the key to making dialogue-driven narratives compelling, even in a short-form project.

First do no harm, then tell the story: exploring childhood trauma through the hybrid documentary.
For millions around the world, migration is an experience centred not in exploration but in displacement. For refugees and asylum seekers in particular, it is an incredibly traumatic process compounded by the many difficulties faced once they have arrived on our shores – if, indeed, they make it here. I feel a deep responsibility as a filmmaker to use the platform I am privileged to have to enable the marginalized and disenfranchised in our society to share their stories with the world. In 2018, we live in a world with the highest levels of forced displacement in recorded history.

Wonder and Annihilation on the road: Mu and the natural world in Into the Waves .
Kyle Hedrick's exegesis for his film "Into the Waves".
"The question of how the natural world can lead both a film’s characters and creators towards an experience of wonder – triggered by an acceptance of a form of self-annihilation – has become a central question.
Through an interrogation and reflection on the process of scripting, filming and editing the film, this essay will highlight how my ideas have changed and evolved while exploring these concepts of wonder and annihilation.

Body as archive : the presence of history in dance
This exegesis examines the Body as Archive in relation to debates on ephemerality, language and the dancing body, and artistic legacies in dance practices. Research exposes the persistence of assumptions stemming from the mind / body binary and cultural prejudices. In addition, it highlights the need for dance practitioners and theorists to continue rethinking our historical narratives from new perspectives. Finally, this thesis offers proof that by revisiting the past, we can tumble upon surprising facts that have previously been forgotten, and that these new realities offer potential for radically realigning ourselves in relation to our perpetually unfinished pasts.