Component 1 Script – Alisha Bennett

Component 2 – Production notes Alisha Bennett

Component 3 Television Segment/Scene Alisha Bennett

Natalie Bennett Release Form

Melanie Bennett Release Form

For my television scene, I created a coming of age adaptation from the show Homicide, episode Kill or Be Killed (1970). From Meikle’s ‘A Theory of Adaptation Audiences’ (2017) she describes how “audiences adapt to the adaptation industry by offering up their own products”. When finishing my sketch, I thought about how I am adapting purely off the script rather than being familiar to the source material. This helped me craft my genre adaptation and provide my own product through imagining the scenario with my own characters and story in mind. Just like reading a book, my imagination is what helped me formulate the structure of my sketch. I filmed with my sister and my mother who generously helped me out. Filming this adaptation helped me learn about the importance of colour when it comes to genre. When discussing my work with group member Cecilia, we provided feedback to each other about how the colour of the sketches represented the chosen genre. Cecilia gave me positive feedback about how the warm tones suited and supports the genre. Cecilia crafted her comedy sketch of the Kill or Be Killed Homicide script segment through a similar process to myself with a script and storyboarding. Each week we presented components to each other and provided feedback. Through this sketch, I would like to develop a sequence less dialogue heavy. I am still learning about the importance of silence in conveying messages and emotions, and that is particularly evident in coming of age stories. I also would like to try other areas such as voice overs and more show don’t tell aspects of adaptation.

REFERENCES

Meikle, K. (2017) A Theory of Adaptation Audiences.  Literature/Film Quarterly. https://lfq.salisbury.edu/_issues/45_4/a_theory_of_adaptation_audiences.html#gsc.tab=0

Minter, D. (Writer), Emanuel, A. , Miller, G. (Directors), (1970, February, 10). Kill or Be Killed (Season 7 Episode 3) [TV Series Episode]. In Crawford, I. (Executive Producer) Homicide. Crawford Productions.

component 2 – shot list

component 2 – storyboard

When thinking about an idea from the reading, I thought it was interesting how Strong describes audiences to compare how a story is told and not just about what happens from adapted texts (2024, p.194). Adapting “Kill or Be Killed” episode from Homicide (1970) is not a widely known adaptation and may not be inherently recognised through the short sketch. Looking through how the story is told instead of what is happening as an adaptation is an interesting observation to how adaptations are created. Instead of having an exact replica, I can create a genre adaptation from the script segment to write a short story that follows the script in a way that follows the guidelines but doesn’t have to act out in the same manner.

Through creating the shot list I learnt a lot about the importance of a shot list and how it helps me understand all necessary components of what to film to ensure I am not missing anything. When creating a coming of age genre adaptation, its necessary to look at the emotions of the characters faces and the responses rather than splitting to a different character perspective every time someone new talks. When working in class looking at the Effy teaching Katherine how to smoke scene from Skins (2010) , I notice the intimacy and close up shots of the characters, building connection and raw emotions with expression. When generating a storyboard, I visualised what I wanted from the coming of age story. Who’s perspective was most important to show, who’s response did I want to show? Altogether, this helped me generate a shot list that considered filming both characters reactions to dialogue to ensure I had enough resources during editing to create a engaging short sketch.

REFERENCE LIST

Brittain, J., Elsley, B. , Lester, G. (Writers), Biswas, N. (2010, February, 18). Katie (Season 4 Episode 4) [TV Series Episode]. In Elsley, B. (Executive Producer) Skins. Company Pictures; Storm Dog Films.

Minter, D. (Writer), Emanuel,  A. , Miller, G. (Directors), (1970, February, 10). Kill or Be Killed (Season 7 Episode 3) [TV Series Episode]. In Crawford. I. (Executive Producer) Homicide. Crawford Productions.

Strong, J. (3 May 2024) Continuation and Desperation in Contemporary Multiseason Television Drama (pp. 191-211). Adaption. https://doi.org/10.1093/adaptation/apae006

component 1 – script

From the reading, Johnson (2020, pp. 1) discusses how thinking about the films we love help us understand the kind of films we want to make. When thinking about adapting the script from Homicide episode “Kill or be Killed”, I thought about my previous projects and the type of style I enjoy writing. As a student, I relate to coming of age stories. I understand my emotional connection to the genre and how the genre conventions can assist me in writing a script through following stylistic cues (Johnson, 2020 pp.2). Working with Cecilia and James and discussing our different genres was helpful in seeing them come up with ideas for their comedy and horror style scripts. We discussed our genre adaptations and discovered whether our scripts fell into the expectations of our particular genre. When writing coming of age there are expectations from audiences. My script ‘A Small Note’ aims to begin the journey of a trouble student who learns from mistakes and begins moral growth. As Johnson describes, the important thing about genre is creating emotions and ties between the audience and the film (2020, pp 6). Audiences can feel disappointed when a genre expectation is not met, so when adapting the script to a completely different genre to crime, I had to challenge myself to think of a similar scenario that could replicate the segment. I learnt that mixing genres can provide a fresh innovative story (Johnson, 2020 pp 9) which is how I blended the crime investigation from the Homicide “Kill or be Killed” script into a principal office interrogation with a troubled student.

REFERENCE LIST

Johnson, C. (March 26 2020). Crafting Short Screenplays that Connect. Routledge. https://www.routledge.com/Crafting-Shor-t-Screenplays-That-Connect/Johnson/p/book/9780367338190

Minter, D. (Writer), Emanuel,  A. , Miller, G. (Directors), (1970, February, 10). Kill or Be Killed (Season 7 Episode 3) [TV Series Episode]. In Crawford, I. (Executive Producer) Homicide. Crawford Productions.

sketch 1 – photo adaptation

sketch 2 – sound adaptation

sketch 3 – video adaptation

sketch 3 – video adaptation

Video Adaptation created by Alisha Bennett on March 21st 2025

For my video adaptation I did some heavy research across the Media History Digital Library in search of an image/ advertisement that I could replicate and create an idea for a one minute video. This was a challenging task as there are millions of different articles or images to choose from with many ideas flowing through my mind. However, when adapting an image to a video, its important for myself to recognise how I need to ensure this is an achievable adaptation, rather than a stressful one. When reading through pages of the Glamour of Hollywood (1939) of around 900+ I successfully found an advertisement for ‘Foot Rest Shoes’ on page 26. I decided to take inspiration from the image of the shoes laid out on the page to create a YouTube reel of outfits by shoes. The video production adaptation process allowed me to foster user-generated content, blending music and visuals to add to my work (Milton, Cobelo 2023). I was able to learn through my own engagement of reels on YouTube and TikTok to gain an understanding of what type of user generated content I enjoy that I would like to re-create. When it comes to adaptation in video form, whilst my adaptation is inspired by the advertisement for ‘Foot Rest Shoes’, I also adapt my work based on the content presented on these social media platforms. This process of video adaptation helped me learn about how endless adaptation really is. Its not just about re-creating the direct source word for word just in a different art form, its also about individual creativity, technology, and how time has evolved meaning and interpretations. There are endless ways I could have approached this video adaptation, and I find it interesting how social media platforms such as YouTube, allow for a place of 5 billion users to create content that has been minorly or majorly adapted over time (Milton, Cobelo 2023). In the future to improve on video adaptations and specifically the ways I can improve the sketch would be to provide a narrative within the adaptation rather than a simple ‘day in the life’ vlog style outfit video. I enjoy creating adaptations based on creative imagination and storytelling, whereas my sketch is almost like an advise column or aesthetic inspiration adapted from the shoe advertisement. The editing could also be more refined as there are mentions of the transitions being ‘too obvious’ and not entirely smooth. Nonetheless, I am happy with the outcome of my sketch and understand more on how to approach video adaptation more strategically in the future.

REFERENCES

Glamour of Hollywood, (1939). The Conde Nast Productions, Inc, Media History Digital Library, 26 https://mediahistoryproject.org/reader.php?id=glamourofhollywo00cond

MatthewVakaliuk73627, 2025, ‘Computer keyboard typing’ [Audio Recording] , Retrieved from https://pixabay.com/sound-effects/computer-keyboard-typing-290582/

Milton, J., & Cobelo, S. (2023). Translation, adaptation and digital media. Taylor & Francis Group. https://ebookcentral.proquest.com/lib/rmit/reader.action?docID=7252505&ppg=190

Oldedgar, 2022 ‘Pop!’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/pop-91931/

ShidenBeatsMusic, 2022, ‘Sound Effect Twinkle/Sparkle’ [Audio Recording], Retrieved from https://pixabay.com/sound-effects/sound-effect-twinklesparkle-115095/

Snoozybeats, 2025 ‘Lofi Girl’ [Audio Recording], Retrieved from https://pixabay.com/music/beats-lofi-girl-309226/

Sound Adaptation created by Alisha Bennett on March 19th 2025

Audio references included in the DESCRIPTION of YouTube post

sketch 2 – sound adaptation

My audio piece takes inspiration from the Patsy Peacock Telebird newspaper piece from the Crawford Productions artefacts. When looking through the wide range of imagery and news articles used as research for the company, the image of Patsy Peacock really inspired me to create a fun narrative piece using sound as a means of telling a story. From the reading “The Routledge Companion to Adaptation” the authors touch on the ways that audio adaptation engages listeners by requiring them to actively imagine and co-create a narrative through the immersive storytelling experience of sound adaptation (Cutchins, D., Krebs, K., & Voigts, E. 2018). This heavily supports the reasons why I find products of audio books or podcasts to be such a immersive and personal experience as you imagine the sequences in your mind and have an imaginative adaptation from an adapted source. From this idea, I heavily wanted to think of sounds in layers and an ever changing environment to fully immerse a listener to imagine themselves on the road trip across the Nullarbor Plain as described in my sound adaptation. I learnt so much about the importance of the slight changes in sounds and making realistic soundscapes that provide a real life context and experience that we all understand and can immerse ourselves in. For instance, in the editing process, I added the sound of someone having a drink, scratching their heads, a car passing by, ect. These little changes in the sounds can reinvite engagement. I also learnt the importance of adapting scripts when I was voice acting for the script to make it realistic and less like I am reading word for word in a robotic manner.

For what I would like to improve on for future sound adaptations is to be more precise in my planning and not go overboard. When writing the script, I had no practiced or prepared for my work to run over the minute run time and had to adapt and shorten my story which ends abruptly. I would like to be more prepared with more time to overcome this issue in the future.

REFERENCES

Alexftw123, 2021, ‘Car Acceleration Inside Car’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/car-acceleration-inside-car-7087/

Cutchins, D., Krebs, K., & Voigts, E. (Eds.). (2018). The routledge companion to adaptation. Taylor & Francis Group. https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=5351842

Fabrizio84, 2021, ‘Drinking Water’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/drinking-water-7173/

Folamh3, 2022, ‘Morris head scratch’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/morris-head-scratch-103330/

Freesound Community, 2022, ‘031794_paper movement and sliding’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/031794-paper-movement-and-sliding-63405/

Jrssandoval, 2022, ‘sniff’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/sniff-93949/

LexzachGames, 2022, ‘Pen Click’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/pen-click-99025/

MPTSound, 2021, ‘Tuning radio’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/tuning-radio-7150/

Priesjensen, 2021 ‘Car Driving Ambiene’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/car-driving-ambience-6365/

Ra_gun, 2022, ‘Wind-inside car-091007’, [Audio Recording], Retrieved from https://pixabay.com/sound-effects/wind-inside-car-091007-17026/

Surprising_SnapShots, 2025, ‘Guitar Jazz 2’, [Audio Recording], Retrieved from https://pixabay.com/music/smooth-jazz-guitar-jazz-2-311537/

Zerono1, 2022, ‘Camera Click 01’ [Audio Recording], Retrieved from https://pixabay.com/sound-effects/camera-click-01-36277/

All other audio sources were obtained by Alisha Bennett the creator of ‘Sketch 2 – Sound Adaptation’ on March 19th 2025

Photograph adaptation created by Alisha Bennett on March 11th 2025

sketch 1 – photo adaptation

Scene – “They’re Coming to get you Barbara” from Night of the Living Dead.

When creating this photographic sketch, I explored the themes of artistic value and audience engagement in the context of adaptation. In the modern age of adaptation and media, Hutcheon (2012) discusses how adaptation has evolved from a historically framed lens into a more dynamic storytelling through “transmedia”. Unlike traditional adaptations where we focus on a historical lens, transmedia prioritizes world building over fixed narratives, allowing for exploration of the themes of a text and allowing further questions about the underlying values.

Through class discussions and readings, I have gained insight into how we adapt art from texts, how they inspire us and how we identify objects that respond to their themes. From the scene “They’re Coming for you Barbara” from Night of the Living Dead, translating it to a photographic sketch has challenged me to think about the objects that symbolize key themes and subtle messages. Since transmedia explores world building and thematic exploration, my approach to this sketch was to brainstorm symbolic objects that represent death, character traits and significant actions within the scene.

I am pleased with the final result, with the use of flowers to highlight fragility of life with water meaning to sustain them contrasting with their decay. I also incorporated symbols and objects from the scene, such as Ben’s glasses, a brick and the car keys. Moving forward and improving on this sketch, I would like to refine my work to focus on a single character rather than multiple elements from the scene. Instead of capturing the graveyard, Ben and Barbara simultaneously, I would like to concentrate on one frame or perspective such as Barbara with her strength from the sequence.

REFERENCES

Hutcheon, L. (2012). A theory of adaptation. Taylor & Francis Group. https://ebookcentral.proquest.com/lib/rmit/detail.action?docID=1016075

Romero G (Director). (1968).  Night of the Living Dead [Film] Image Ten, Market Square Productions, Off Color Films, Laurel.

Our final project embraces the key concern of the studio, which is to create media through non-traditional forms of storytelling. In this studio, we explored media forms such as essay film, live action, desktop, and the chosen concept for our final project: the sculpture installation video. These concepts allow us to “create art in non-traditional photographic techniques by using these live performance spaces” (Hobbs. Y.R and Ross. M, 1997) and evoke deeper thinking and complex narratives. The concept behind our final sculpture installation video was to dive into identity in photographic memories. The sculpture invites “a role of art to blend imagery in distinct meaning” (Hobbs. Y.R and Ross. M, 1997) using the canvas quarters that expose different chapters of life and the evolution of colour.

The experience in this studio exhibition shows the complex personification of digital media art with unique approaches from fellow student groups. This excited me about the ‘Memory Screen’ studio. We explored the complexity and purpose of media creation via physical form or performance in software, live action, or desktop environments compared to a typical film set. The studio challenged me to think outside traditional narrative-making and discover artists who inspire me with more complicated media forms. During the exhibition, I hoped audiences would understand how we wanted to communicate time within a physical ‘scrapbook’ style art piece, followed by an interview of the person who we created the photo collage of. I hope my work embraces the studio’s concern in how we created a mosaic sculpture combined with projection of digital media, formulating the two different art forms of traditional print-based media and digital technology.

In creating our final work, the most successful aspect was the production of the interview and sculpture installation with the projector. The projector screen was perfect in producing a clear visual image above the canvas. The overlay was not confusing in distinguishing between the canvas and my sister’s portrait. It was time-efficient; we finished filming within an hour and filmed multiple takes to capture different perspectives. The filming of the actual interview, while the space was not ideal, was similarly efficient. With pre-production assisting us, we formulated our questions in an organised list of chapters from different eras of my sister’s life.

The most problematic aspect was changing our idea of the mosaic almost entirely. Due to cost and resources, our original idea of 30 frames collated into one square was impossible to create. The photo size being accurate, the exterior of the frame complicated things, and we brainstormed other avenues to convey our concept. We thought of a pin board, glittery paper backdrops, or op-shopping to find frames. However, we ended with the idea of combining four canvases with some photo frames and the remaining 30 photos scattered to create a memory board, like a scrapbook. I realised I had unused canvases, which made a perfect solution to our problem. We quickly began to create boards. I asked my sister for memento items to lay across the canvas, adding to the flatter spaces due to the lack of photo frames. With glue, double-sided tape, pins, and blu-tak, we created a beautiful collage of my sister’s photographic memories. We are pleased with the alternative presentation as this allowed us to add more personality. Through the problems and successes, we grew stronger as problem solvers and as a team.

As explored in the ‘Understanding New Media Art’ educational journal, “sculpture art creates social spaces designed to encourage interaction and engagement” (Bilyeu. E, et al, 2022). In the future, if we extend the media sculpture, I would love to let audiences engage with the mementos and the video playback of the installation. As the interview is long, some audiences may only be interested in certain photographic memories my sister talks about. It would be aspiring if, in an alternative world, the photos could be tapped, and the video would skip to the exact moment where my sister mentions her connection to the item or experience. I would also love to display the installation with the projector on a larger scale with a larger canvas. As students, it would be complicated to have a larger sculpture due to transportation and storage possibilities. We would also love to improve on the quality of the video installation as part of the sculpture. The reason for these improvements is for our sculpture to develop emotional and artistic expression within the physical setting (Pan. Y, 2021). Since audiences are not connected to the memories and items, it would be a core improvement to allow for interactivity of the sculpture and personal interest in the stories portrayed in the images.

During my time in this studio, I have learnt a lot about removing my expectations of what media is meant to be. With previous disliking of experimental films, the studio allows me to keep an open mind and to look deeper than what is at face value. During this studio, I was new to desktop performance and live action media. Creating works in these forms was challenging and uncomfortable. I felt exposed or lacking skills. With these discomforts, I gained appreciation for the artists involved in these non-traditional media art forms.

This year, I have had experience working with strangers with complex ideas different from my own. This has been a blessing, as through collaboration we create a narrative or idea that embarks on the same premise yet is conveyed through different perspectives. Collaboration has allowed me to discover new topics and ideas and to understand what others know. For instance, my studio partner this semester is Zahra Kader, who has grown to be one of my friends. She introduced me to many forms of media that inspired our project concepts. The inspiration for the interview for this sculpture installation was from the “Soft White Underbelly” interviews, which Zahra introduced me to. These videos document the lives of those who are less fortunate and exposed to violent societies. Without this inspiration, we would have lacked background references and style for our interview approach. Working collaboratively also allows us to work independently. While following the same project, each of us focuses on different roles. I was the director, Zahra was the editor, and we shared roles in crew, set design, writing, and cinematography. This allows me to focus on preparation for production as Zahra works to complete the two videos needed for our sculpture installation video. Collaboration shows how we can take responsibility for our actions and allows us to discover what we enjoy about creating a media installation or production.

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REFERENCES

Bilyeu. E, et al, 2022, “Understanding New Media Art” [website] Open Oregon Educational Resources, Accessed 23 October 2024 URL: https://openoregon.pressbooks.pub/understandingnewmediaarts/

Hobbs. Y.R, Ross. M, April 1997, “Vol, 30, Number 2, Video, Sculpture and Collaborative Image Processing” [website] The MIT Press, Accessed 23 October 2024, URL: https://muse.jhu.edu/pub/6/article/607439/pdf

Pan. Y, July 2021, “Application of Computer Visual Art in Digital Media Art” [website], Journal of Physics: Conference Series, Vol 1991, no 1, Accessed 23 October 2024, URL: https://www.proquest.com/scholarly-journals/application-computer-visual-art-digital-media/docview/2548803698/se-2?accountid=13552

Sculpture Sketch Reflection

Sculpture Sketch, Memory Screen – Alisha Bennett

Sculpture Video

Desktop Performance Sketch Reflection

Desktop Performance, Memory Screen – Alisha Bennett

Desktop Performance Video