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Ed McDonnell is an investmend banker turned producer. Since 2004 he is the head of Maple Shade Films he is known for the movies Catwoman, Prisoners und Sicario. His conversation with Team Deakins was published December 13th and is all about the topic of producing and what you need to be successful in it.

“Read the Room” is what Ed calls one of the most important things when being a producer. In the podcast he tells this story about how he got fired for not reading the room when discussing a script with his team. He was then feedbacked that his criticism was not constructive but selfish. For me, this story (even though it was short) seemed like the most important thing he said during the episode. Giving constructive criticism and feedback is not easy, I know that from my own experience. But it is as valuable as it is hard. Especially in films I think so many people are working hard and giving their all for a project that it is even more important to think before you speak. It’s also something that I myself would like to practice more and implement in my own future work life.

Another thing Ed mentioned in the talk was how some years ago his work also included planning talents’ travels all over the world for film premieres and such. This reminded me that making movies is fun and all but I surely never want to be so famous that I am needed in three continents at the same time. Traveling a lot for or thanks to filmmaking sounds like a really nice thing but thinking about all the logistics and costs (and carbon footprints) that come with that just makes me not want to do that ever. Of course, there will be situations sooner or later in which I am faced with this logistical nightmare but if I can, I want to postpone that as long as possible.

The episode continues with some funny anekdotes from Ed’s life as a producer. However, there was not really a lot of new insight into the field as I have listened to several podcasts by now and somehow know the drill a little. However, that also tells me that big productions almost always work the same, which is also a valuable insight.

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Links

Ed McDonnell’s Wikipedia

The podcast episode

Prisoners (Film) on IMDb

It’s Groundhog Day again – This is my sixth entry in this blog and for the fifth time I’m going to tell you that there will be a change in the trajectory of my project. More precisely I will merge my previous ideas into one. 

For this blog entry I will first recap the talk with Daniel Bauer before carrying out his advice and laying out all the topic areas.

At first we talked about my motivations in general which are nature photography and -filmmaking. We furthermore talked about SeenBlue. We went over the problems we have at Seenblue which are first and foremost gaining reach. He said that this should or could probably be my project. Finding ways to distribute our films in a way that the public actually sees them. Since our projects are important for the survival of our natural environments in and beyond the Anthropocene. From there I told him about my original ideas for my thesis which are sustainable production workflows for conservation films or a filmmaking guide for biologists to empower them to make their own films. Regarding the first one he mentioned that he can’t really see a full thesis project in it. If I wanted to write about it I had to challenge previously established guidelines and analyze them which deviates far from the guide idea. For the second one he said my thesis should be written by me for me, so the outcome benefits me instead of others and that my idea is nice but to altruistic. We furthermore talked about what I actually want. The synthesis of this was: I want to make successful conservation films. So why am I not writing about exactly that? He said that this thesis already kinda exists should not hinder me to write about the same topic since my approach would probably stray far enough from Sabine Probst’s Thesis. I should lay out a map of all the topics I want to write about and see how similar the areas are. Furthermore I should extract all the important parts research them lay out my views and challenge them. So this is what I will do in this entry. Or at least the laying out part for now: 

The Importance of Conservation in the Anthropocene:

The first thing that springs to mind is the importance of our environment and the challenges that it faces in the Anthropocene. The topic has more momentum than ever, especially when looking at the SDGs from the 2030 Agenda or the most recent update to The Limits to Growth report from the Club of Rome. Our planet is on the verge of a biodiversity crash, probably resulting in the greatest loss of species ever in Earth’s history. This is especially frightening when we look at the estimates of other mass extinction events like the Permian-Triassic Extinction, where an estimated 70% of terrestrial vertebrates and an estimated 81% of all marine species died out.

The Impact Crisis:

First of all, conservation films and nature documentaries struggle to create an actual impact. Secondly, if they create an impact, it is extremely hard to measure the exact impact they had. From my personal point of view, I see two specific problems related to two strategies when it comes to storytelling. Either the tone of the documentary is moderate to dark, but in the end, there is the silver lining that if we just start to act NOW, it is still possible to turn things around. This way of storytelling is used quite often by the BBC, especially Our Planet I and Our Planet II, as well as in A Perfect Planet among others. Here, people or politics tend to “procrastinate” since there is still time to turn things around. Or the tone of the documentary is dark throughout. Everything is basically lost already, and we can just hope to postpone or mitigate future catastrophes. With this method of telling a story, usually the state of cognitive dissonance kicks in and the viewer closes off emotionally since the truth is too hard to accept. In the thesis, I want to include perceptual phenomena and sociology to analyze why documentaries fail or succeed in creating an impact. There has to be a way to make impactful documentaries or conservation films. I will have a deeper look into why, for example, Blackfish was such an impactful documentary. A hypothesis of mine is that a conservation film needs to establish an emotional bond with the recipient. And that this has to happen not through the subject only but through a human protagonist; a researcher, a biologist, or a scientist. Their personal motivation needs to pass over to the recipient to create a sense of urgency, a sense of “I have to do something”. This is also the reason why I will include a lot of personal motivation of my protagonist in my film. I think this becomes especially important when the subject matter is not really capable of creating a bond. For example, it is easy to care for a cute panda but hard to care for a harsh ice desert.

Ethical Aspects of Conservation Filmmaking:

Basically, everything boils down to this. A documentary is a documentary; it should document reality, show things as they are. Everything added or changed is manipulation. If we follow that path, we basically shouldn’t heavily edit, grade, or support the film with music, since all those things have the potential to manipulate the viewer. However, I think this is debatable and could be an interesting chapter for my master thesis. Because if I, as the filmmaker, am in the Arctic overlooking the ice-covered ocean, the Arctic winds in my face, I can do whatever I want with the material I filmed; it will never convey the emotion I felt when filming it, no matter how I manipulate the colors or add sounds that convey isolation, it will never be the same. So every creative choice of the filmmaker that deviates from the exact reality they witnessed should support the goal of trying to evoke the same emotion. I personally think that this is what a documentary should do, and that’s why I think techniques used in contemporary film can and should be included in our documentary film. I will try to find evidence to support this and also challenge this view.

The Responsibility of a Filmmaker:

This ties in with the impact crisis and the ethical impacts of conservation filmmaking. The goal is, of course, to create an impact but not at all costs. For example, anthropomorphizing an animal may help to create an emotional connection between the subject of the film and the recipient but ultimately it conveys the wrong message. Animals are not humans and even describing their actions with our words and language doesn’t do them justice. I found an interesting thesis on the topic which I will explore further. When it comes to the ethical aspects of conservation film, the filmmaker must be aware of the potential impact and therefore benefit for the environment the film has and the potential threat the film can impose. Heisenberg’s uncertainty principle states that we cannot observe anything without changing it or as Michael Crichton so elegantly put it, “Discovery is always rape of the natural world, always.” There will always be evidence of the discovery or in this case the filmmaking. In the end, the only question is if that evidence only tracks in the snow or a destroyed habitat. Filmmakers must be aware of the choices they are making. It is always a question of the greater good, and I will try to find a solution for this. This is probably the best way to tackle the responsibility or sustainability question in this thesis without meddling with guides and analyzing if the proposed method of carbon dioxide reduction on set really makes sense even though this is nonetheless an interesting topic, just not for me, not at this time.

How to Actually Make an Impact:

This aspect is probably the most important of them all to creating an impactful conservation film and the one I am least looking forward to researching or writing about. Even if you create the best film ever, if nobody sees it, it has basically been for nothing. But how to set up distribution in a way that actually works? Social Media? Probably. It is important but I hate to work with it. Ever since I worked as a Social Media Manager for half a year and I know what Social Media actually is and what needs to be done that the algorithm likes you, I hate it. Nevertheless, it is important. But it is not the sole thing that can be done. Of course, film festivals are a way. But it is kinda the same problem the scientific community has. Where they tailor and distribute everything to other scientists, filmmakers tend to do the same but for other filmmakers. This cycle needs to be broken. Information must be somehow presented to and tailored to the general public or politics, to someone who can actually change the world. I know that this is basically the holy grail of conservation film, and I don’t expect to find the perfect answer, but I will try to find it.

Science Communication:

I scratched the surface of this in the previous part; Science and Biology are part of this have the problem that it doesn’t want and doesn’t know how to tailor their messages to the general public. Film could prove a valuable tool here. Biologists could empower themselves to create impactful messages. To actually distribute their findings not only to other biologists but to the general public. Biologists could aspire to become rockstars just as mathematicians did when chaos theory emerged. So the thesis could also address biologists to create and film. I am not quite sure yet how and if to incorporate this but I got a contact from the Karl Franzens Universität that tries to do exactly this – Convince scientists to distribute their findings in an “entertaining” or impactful way. And maybe the next blog entry or probably the one after the next will be about my talk with Dr. Helmut Jungwirth.

Anyway, this is everything, or at least everything I can think of at the moment that I find interesting and am motivated to research about. Everything kinda ties into the general goal to create a guide on how to actually create an impact with conservation film. And now that I have written down everything, I am also convinced that this strays far enough from Sabine Probst’s Thesis even though we’ll probably share a similar title.

Thesis Evaluation: Viewing Nature A Reception Analysis of Anthropomorphizing in Nature Documentaries by Mardie Vermunt, Science Education and Communication Utrecht University

Level of design

I’m not really quite certain what exactly is meant by that. The „Design“ probably does not refer to the structure of the thesis, since this is aspect is to described and analyzed further down the line. So I assume the actual design of the thesis meant by this. This can be dealt with very swiftly since the thesis is simply not designed at all. Since the thesis was written at university with a scientific focus it was probably required to layout the thesis professionally. Which is most presumably the reason why it is not „designed“. 

Degree of innovation

When we look at the publishing date of the thesis it has to be concluded, that the degree of innovation is not particular high. That does not mean the topic is not interesting. However the discussion of anthromorphizing animals in documentaries has been around for some years. And not only in the field of contemporary animals but also in extinct ones such as dinosaurs. That the topic is not freshly invented becomes obvious when we have a look at the described sources which frequently date back more than five years. The thesis tries to summarize previous research in the field while also adding new findings trough independent research.

Independence

This brings us to the next part: Independence: As declared, this thesis was most presumably written independently. 

Outline and structure

The Theis well structured and has a clear outline. However It is not particular easy to navigate since it doesn’t have numbered chapters and sub-chapters which makes it harder to skim trough the thesis effectively. In general the thesis follows a clear line of argument/research by presenting general, theoretical information in the beginning and laying out the foundation for the methodology. The findings are presented well. The appendix again is hard to navigate since the individual parts are not numbered and miss distinct headlines. 

Degree of communication

I am not to sure how to answer this, but everything in this thesis is communicated well. The objective is clear at any given point and it becomes very obvious there is a lot of sense of purpose involved.

Scope of the work

The objects are clearly defined and spin from personal motivation. The method chosen to accomplish the task is well suited and within the limitations surrounding a master thesis, in comparison to a PHD, the task was accomplished.

Orthography and accuracy

The thesis does not have to seem any orthographical flaws and the style of writing is precise and appropriate.

Literature

The Literature used is curated very well and professional. The sources are mostly journal entries written by field veterans and experts alike. The literature list is not only qualitative but also quantitative. The range of sources is very wide 

Lappeenranta University of Technology
School of Business and Management
Master’s Degree in Supply Chain Management
Author: Olli Lehtisalo
Supervisors: Jukka Hallikas, Mika Immonen
2018

Level of Design

Since this thesis was done by a non-designer, I did not initially expect a high emphasis on design and the overall appearance of the work, in fact, that’s how it turned out. The work is skimpy on illustrations and graphics, which I consider a disadvantage, as this is a great way to visualize, regardless of the topic and direction of study.

Degree of Innovation

The paper looks at innovative best practices in the industry, their application, importance and potential development, so I could say that the whole thesis as a entire work is about innovativeness.

Independence

I can define the research process as completely independent because different methods were applied, which is what makes the work objective and independent.

Outline and structure

The thesis is well structured, and consists of the following chapters: “Introduction”, “Digitalization in supply channels”, “Digital technologies”, “The use of digital technologies in different industries”, “Discussion”, “Conclusion”.

Degree of communication

In general, the language of the work is very specific, and it is not always clear to the average person who is not familiar with marketing and supply chains what they are talking about. However, since this paper is intended for specialists, this is probably not a big problem.

Scope of the work

I believe the scope of work is sufficient to cover the topic comprehensively and fully. In 100 pages of the thesis, I did not notice anything superfluous, as well as did not see any lack of information.

Orthography and accuracy

I did not notice any spelling problems in the paper, no typos were identified either.

Literature

The list of references is quite impressive (98 titles) and is competently compiled.

Working Title: Dark Patterns im Online-Shopping: Auswirkungen auf Usability und Nutzererfahrung

1. the problem (Starting point, problem description)

Diese Masterarbeit befasst sich mit der Problematik von Dark Patterns im Online-Handel und untersucht deren Auswirkungen auf die Usability und Nutzererfahrung. Dark Patterns sind manipulative Designelemente, die darauf abzielen, das Verhalten von Nutzern in eine bestimmte Richtung zu lenken. Das zentrale Problem besteht darin, dass solche Designpraktiken potenziell negative Konsequenzen für die Effizienz, Effektivität und Zufriedenheit der Nutzer haben können.

Für die Erforschung des Problems werden High-Fidelity-Prototypen von zwei unterschiedlichen Online-Shops (einem unter Verwendung von Dark Patterns und einem ethisch gestalteten) erstellt. Anschließend wird mithilfe von Fragebögen und Usabilitytests erforscht, wie Dark Pattern die Nutzererfahrung beeinflussen und in welchem Ausmaß sich User manipulieren lassen.

2. state of research

Die aktuelle Forschung zu Dark Patterns hat in den letzten Jahren stark zugenommen. Viele Studien haben bereits untersucht, wie häufig sie auftreten und welche Auswirkungen sie generell auf die Nutzer haben. Trotz der wachsenden Forschung, gibt es immer noch offene Fragen, insbesondere wenn es um konkrete Auswirkungen auf die Nutzererfahrung geht.

Die geplante Masterarbeit setzt an diesem Punkt an. In einem Szenario sollen Testpersonen ein Produkt in zwei Online-Shops miteinander vergleichen und sich dann entscheiden bei welchem sie den Kauf betätigen. Der eine Shop verwendet Dark Patterns, der andere nicht, dadurch soll erforscht wie groß der Einfluss von Dark Pattern wirklich ist.

3. the question

Wie beeinflussen Dark Patterns das Nutzerverhalten? Welche Arten von Dark Patterns haben den größten Einfluss auf das Nutzererlebnis? Wie unterscheiden sich die Usability-Parameter (Effizienz, Effektivität, Zufriedenheit) zwischen einem Online-Shop mit Dark Patterns und einem ohne? Inwiefern sind Nutzer bereit, Dark Patterns zu akzeptieren, wenn sie über ihre Existenz informiert sind? Welche langfristigen Auswirkungen haben Dark Patterns auf die Kundenbindung?

4. the hypothesis resp. the objective

Diese Arbeit zielt darauf ab, zum aktuellen Forschungsstand beizutragen, indem sie eine detaillierte Untersuchung der Usability-Auswirkungen von Dark Patterns im Kontext des Online-Shoppings durchführt. Die Hypothese besagt, dass Dark Patterns die Nutzereffizienz, -effektivität und – zufriedenheit negativ beeinflusst. Das Ziel besteht darin, mithilfe von Usabilitytests diese Auswirkungen zu bestätigen oder wiederlegen.

5. the reference to theory

Meine Perspektive zu Dark Patterns basiert auf persönlichen Erfahrungen im Internet. Jeder, der regelmäßig online ist, hat wahrscheinlich schon mit ihnen zu tun gehabt. Meine Erfahrung zeigt, dass sie unterschiedliche Reaktionen hervorrufen können: Man ignoriert sie, übersieht sie oder hat negative Nutzererfahrungen durch sie.

Ich neige dazu, Dark Patterns als negativ und unseriös zu betrachten und bin der Meinung die diese häufig zu durschauen, jedoch kann ich mir durchaus vorstellen, dass vorallem unterfahrene Nutzer anfälliger auf die Manipulationstaktiken sein könnnen und deshalb anders reagieren.

6. the method

Mittels Usability-Tests sollen Teilnehmer mit beiden Prototypen interagieren, wodurch sowohl qualitative als auch quantitative Daten gesammelt und ausgewertet werden.

Für die geplanten Usability-Tests werden zwei Fragebögen verwendet. Der erste Fragebogen zielt darauf ab, Informationen über demografische Merkmale der Teilnehmer zu sammeln, wie beispielsweise Alter, Handynutzung, Häufigkeit der Verwendung von Onlineshops und Vertrautheit mit dem Begriff Dark Pattern. Der zweite Fragebogen wird den Teilnehmern nach dem Test ausgehändigt und konzentriert sich auf die Beurteilung beider Onlineshops. Hierbei wird darauf abgezielt, ob den Nutzern Unterschiede zwischen den Prototypen aufgefallen sind und bei welchem Shop sie ihren Kauf tätigen würden.

Die Durchführung des Usability-Tests erfolgt unter Verwendung der Thinking-Aloud-Methode, bei der die Teilnehmer ihre Gedanken während der Interaktion laut äußern. Gleichzeitig wird der Test mittels Screenrecording aufgezeichnet, um eine detaillierte Analyse der Interaktionen zu ermöglichen

7. the material
Die Hauptdaten für diese Arbeit werden durch Usability-Tests mit Teilnehmern gesammelt, die mit den Prototypen von Online-Shops interagieren. Die Daten umfassen Ergebnisse zur Nutzerleistung, wie beispielsweise die Zeit für Aufgabenerfüllung und Erfolgsraten, sowie qualitatives Feedback zur Nutzerzufriedenheit und zum Vertrauen. Zusätzlich trägt eine Überprüfung der bestehenden Literatur zu Dark Patterns, Usability und ethischem Design zur theoretischen Grundlage der Studie bei.

8. (preliminary) bibliography

• Bühler, Patrick S., and Dominik Sinner. Webdesign: Interfacedesign – Screendesign – Mobiles Webdesign. 2nd ed.Berlin: Springer Vieweg, n.d.
• Elske Ludewig, Usability Und UX Für Dummies (VCH, 2020).
• Arunesh Mathur, Jonathan Mayer, and Mihir Kshirsagar, “What Makes a Dark Pattern… Dark?,” Association for Computing Machinery, May 6, 2021, https://doi.org/10.1145/3411764.3445610.

9. (preliminary) structre

Einleitung:

• Hintergrund und Motivation (Warum ist die Untersuchung von Dark Patterns wichtig?)
• Forschungsfragen (Welche Fragen sollen beantwortet werden?)

Theoretischer Hintergrund:

• Definition und Kategorien von Dark Patterns (Was sind Dark Patterns und welche Arten gibt es?)
• Praktische Beispiele von Dark Patterns
• Usability-Prinzipien (Welche Grundsätze bestimmen die Nutzerfreundlichkeit?)
• Ethik im Design (Warum ist ethisches Design wichtig?)
• Studien zu Dark Patterns (Was wurde bereits erforscht?)
• Rechtliche Aspekte von Dark Patterns im E-Commerce (Ist die Verwendung legal?)
• Maßnahmen, die Nutzer gegen Dark Patterns ergreifen können (Was können Nutzer tun, um sich zu schützen?)

Methodik:

• Design der Online-Shops (mit und ohne Dark Patterns) (Wie wurden die Prototypen erstellt?)
• Vergleich zwischen den beiden Shops (Inwiefern unterscheiden sich die beiden Prototypen?)
• Auswahl der Testpersonen (Mit wem werden die Tests durchgeführt?)
• Durchführung der Usability-Tests (Wie wurden die Tests aufbereitet?)
• Datenerhebung und -analyse (Wie werden die Daten analysiert?) Ergebnisse:

• Quantitative und Qualitative Auswertung (Welche Ergebnisse wurden erzielt? Gibt es überraschende Erkenntnisse?)
• Interpretation der Ergebnisse im Kontext der Forschungsfragen (Welche Schlussfolgerungen ergeben sich aus den Ergebnissen?)

Conclusio:

• Zusammenfassung der wichtigsten Erkenntnisse (Was wurde herausgefunden?)

10. the timetable (project phases and duration)

12.02. – 19.02. (1 Woche) Literaturrecherche
19.02. – 11.03. (3 Wochen) Theorieteil ausarbeiten
11.03. – 08.04. (4 Wochen) Prototypen bauen
08.04. – 15.04. (1 Woche) Fragebogen aufbereiten/ Test vorbereiten
15.04. – 22.04. (1 Woche) Pilotentest und gegebenenfalls Test korrigieren
22.04. – 13.05 (3 Wochen) Tests mit Testpersonen durchführen
13.05 – 27.05 (2 Wochen) Ergebnisse analysieren/ praktischen Teil beschreiben
28.05 – 30.05. (3 Tage) Korrekturlesen
30.05. – 06.06. (1 Woche) Arbeit layouten
07.06. Druckauftrag stellen

12. Financing

Es sind keine Kosten für das Erstellen dieser Masterarbeit geplant. Die Testpersonen werden aus dem persönlichen Umfeld befragt. Für das Erstellen der Prototypen werden Figma und Protopie verwendet, wobei Figma kostenlos und Protopie von der FH zur Verfügung gestellt wird.

12. Risik factors

Die größten Risikofaktoren gibt es in Bezug auf das Usability-Testing. Nutzer könnten sich nicht auf die Situation einlassen, da sie wissen, dass es sich um einen Test handelt. Schlimmstenfalls könnte, dadurch das Ergebnis verfälscht werden. Beispielsweise könnten Nutzer frühzeitig ihren Lösungsweg beenden, da sie sich selbst Zeitdruck machen. Sie könnten sich unwohl fühlen und anders Handeln als gewohnt, da sie gefilmt werden.

________________

MEINE FRAGEN:
Ist die Umsetzung des praktischen Teils sinnvoll und realisierbar?
Sind weitere theoretische Themenbereiche für das Inhaltsverzeichnis relevant?
Kann der vorgeschlagene Zeitplan realistisch umgesetzt werden?
Es gibt bereits Masterarbeiten zum Thema Dark Pattern an der FH (wurden aber noch nicht abgegeben)…Ist das ein Problem?

I believe it will be challenging to find participants with various visual impairments to test different HUD variations. Therefore, I have decided to shift my focus to a new topic: dark patterns in app and web design.

What are Dark Patterns?

Dark Patterns refer to user interface elements intentionally designed to mislead users into taking actions they did not intend.

for Example:

• Misdirection:
  • Redirecting users to unintended actions or pages.
• Hidden Costs:
  • Concealing additional charges until the final steps of a transaction.
• Sneak into Basket:
  • Adding extra items to the shopping cart without clear consent.
• Forced Continuity:
  • Making it difficult for users to cancel subscriptions or services.
• Roach Motel:
  • Easy to get in, but challenging to leave or unsubscribe.
• Confirmshaming:
  • Guilt-tripping users into accepting undesirable choices.

The following questions will be addressed in my master’s thesis:

To what extent do Dark Patterns influence user behavior and satisfaction, and how can ethical design principles contribute to promoting positive user experiences?

What types of Dark Patterns exist in various industries, and can they be categorized into specific groups?

How do users react to Dark Patterns? Are they even aware of their existence? What are the effects of Dark Patterns on user behavior?

What design guidelines are particularly effective in ensuring transparent, ethical designs? Are there tools that can detect Dark Patterns? How can users be protected early on from Dark Patterns, and how can they defend themselves against them?

Practical Part

In the practical part of the thesis, user testing will be developed for two apps. Although both apps have a similar structure (presumably apps for online shopping), one app will use Dark Patterns, while the other will not. The goal is to determine how users respond to Dark Patterns, whether they notice them at all, and the overall impact on the user experience.

https://dl.acm.org/doi/abs/10.1145/3313831.3376600

Kritische Bewertung der Diplomarbeit „Sounddesign und Filmmusik – Ein Animationsfilm wird vertont“ von Michael Vermathen. Eingereicht im Studiengang Audiovisuelle Medien an der Fachhochschule Stuttgart Hochschule der Medien am 21.12.2004.

Gestaltungshöhe

Die Arbeit ist klassisch gestaltet, auf extravagantes Design wurde verzichtet. Dadurch lässt sich der Aufbau klar erkennen und sie ist gut lesbar. Zusätzlich wurden Screenshots aus dem Animationsfilm und der DAW eingefügt. Auch die Tabellen und Partituren sind ordentlich und lesbar gearbeitet.

Sinnvolle Absätze und Einrückungen erhöhen die lebarkeit weiter.

Innovationsgrad

Ziel der Arbeit ist es lediglich, einen Animationsfilm zu vertonen und nicht, neues zu schaffen. Dieses Ziel hält die Arbeit zwar ein, aber der Innovationsgrad bleibt dadurch natürlich niedrig.

Selbstständigkeit

Das Bildmaterial/Drehbuch etc sind ein Projekt eines Studenten der Filmakademie Ludwigsburg. Der Audioteil wurde komplett von Michael Vermathen übernommen, er hatte auch keine Temptracks o Ä zur Verfügung, was ein hohes Maß an Selbstständigkeit ist.

Gliederung und Struktur

Es gab kein Fazit und keine Forschungsfrage, dadurch fehlt es der Arbeit aowohl an wissenschaftlicher Relevanz, als auch an einem Roten Faden. Es ist eher ein Projektbericht, dieser ist aber klar Strukturiert und nachvollziehbar geschrieben.

Kommunikationsgrad

Die Sprache ist klar, deutlich und ausreichend Präzise

Umfang der Arbeit

Mit 55 Seiten inkl. Zahlreicher Bilder ist die Arbeit eher knapp gehalten. Ihr fehlt zudem ein ausführlicher Theoretischer Teil.

Orthographie sowie Sorgfalt und Genauigkeit

Es wurden von mir keine Orthographiefehler gefunden. Auch der Satzbau scheint korrekt.

Literatur

Wie bereits becshrieben ist der Theoretische Teil der Arbeit quasi nicht existent. Dazu passt auch, dass lediglich 6 analoge und 3 digitale Quellen angegeben wurden. Die verwendeten Bücher gelten aber als Standartwerke in der jeweiligen Bereichen.

Als Recherche für meine Masterarbeit besuchte ich eine Vernissage in der Bakerhouse Gallery. Hier war mir besonders wichtig, mich mit einigen der Künstlern, die dort ausstellen, zu sprechen und über ihre Work-Life-Balance zu erfahren. Als Künstler*in arbeitet man meist nicht nach der 5 Tage-8h-Norm, deshalb war es hier besonders spannend zu sehen, wie die Künstler*innen Arbeit von Privatleben trennen bzw. verbinden.

Folgende Künstler waren in der Gruppenausstellung zu sehen:
Tom Lohner, Lewis Blake, Jörg Döring, Tamara Kolb, Peter Tauber, Lucia Riccelli, Patrick Rubinstein, Carola Deutsch, Patrick Hughes, Josef Florian Krichbaum Asma Kocjan, Agostina Suazo, Monsieur Schabernack, Shepard Fairey, Yoshitomo Nara, Damien Hirst, Takashi Murakami, Koloman Wagner, Julia Hanzl, Barana Saadat, Joyce Pensato, Daniel Engelberg, Javier Calleja, Connor Brothers & Stefan Kreiger

Nicht alle waren anwesend.