PROJECT PROPOSAL TEMPLATE

STUDENT NUMBER: s5105157

WORKING TITLE AND PROJECT LOGLINE:

An installation exploring the division between male and female gaze and how it alters one’s perception
of the film industry.
RESEARCH QUESTION:

Through production design, how can I identify Hollywood’s sexist representation of women in the male
gaze and alter this observation into the female gaze?

PROPOSAL:

In my project, I am going to explore the representation of women in the film industry, with a focus on
Hollywood’s portrayal. In 2018, women made up only 15.6% of the directors guild, suggesting there is
no improvement in gender equality when it comes to filmmaking. There are various portrayals of
women within films, many explore a sexist approach through the stereotypical and lack of detailed
roles, defined by their appearance.

I will inspire to make an installation piece to highlight this segregation in filmmaking and to improve my
artistic skills whilst developing the context of the subject matter to create an impactful piece. To do this,
I will research into the perception of women in the film industry, including female directors and how the
history of women characters in films has proliferated over time. Moreover, I will explore the artistic
purpose of thematic installations by exploring a range of artists such as Barbara Kruger and Tracey
Emin, learning how they connote more effective statement pieces. I wanted to express this topic
through artistic visuals to challenge the audience's perspective of how woman are signified through
Hollywood’s male gaze, as a female spectator, screening gender is “stranded between two
commensurable entities, the gaze and the image”(Dickinson, 2007, pg 163); subsequently educating the
audience about Hollywood’s portrayal and treatment of women.

In the installation, there will be five different rooms to reflect a certain period in the last century, to
suggest how cinema’s sexist approach to the female gender has developed over time. Each room will
have a focus on one well known, yet sexist film in that timeframe to give the audience a visual
representation. To make this installation effective, I want to add interactive elements, so within the set
the audience can contribute their thoughts on history, films and the design itself.

Feminist art is an apparent art form that has been signified in female artist’ pieces. I have looked into
the work of Judy Chicago, an installation artist who celebrates historical women, especially in her work
‘The Dinner Party’. Moreover, I have studied films made by female directors such as Kathryn Bigelow
and Greta Gerwig, who divert from the male gaze and focus on an equal perception of two genders.
There is also a running theme of female empowerment embedded into a directorial design such as
Céline Sciamma’s A Portrait of a Lady on Fire (2019). An exploration in these types of films is a vital part
of the research, as these are more equal portrayals of gender in their work. Mulvey implies how this
diverts from Hollywood’s construct of screening gender through the “recognition on the screen
between the active male gaze and the passive, female image” projecting “male fantasy and the
displayed female spectacle”(Dickinson, 2007, pg 3). I want to recreate the stereotypes that Hollywood
has laid out for women’s roles in films and lack of opportunities to work in the industry.

I have a passion for this particular theme and want to contribute my ideas to see whether I can make a
difference and evoke an audience’s thought process. I also want to challenge my design skills through
the set design, layout and question my ability to work in a small space to create a powerful piece.
Another challenge for me would be how broad the subject is, so I would focus my research to see what
area would be necessary to recreate for an audience to acknowledge and adapt their view on the male
gaze in the film industry.

CONTEXT:

Since watching This Changes Everything (Donague, 2018), I was intrigued by the startling statistics
shown in Geena Davis’ study of children’s media and representation of women in films. This led me to
explore other documentaries to further grasp more knowledge such as Miss Representation (Niewson,
2011) and Feminist: What Were They Thinking? (Demetrakas, 2018). This identified the frequent use of
the male gaze in filmmaking, especially Hollywood films which revolves around “the marginalisation of
characters and presence”(Dickinson, 2007, pg 51) within the camera’s perspective and written
description. In the media, the “embodiment of an intellectually and sexually powered women” are
responded to negatively by “the stereotypical pathologies” because the women are in control, so they
are treated negatively (Hart, 2006, pg 146). Women are marginalised both on screen and behind, there
are less detailed female characters in scripts nor are there many female directors that have been
recognised by the industry, it has been stated that in the top 100 films of 2017, male characters had at
least twice as much screen time as female characters.

In summer 2019, I visited the Stanley Kubrick: The Exhibition at the Design Museum which explores all
of the director’s films in separated rooms with vibrant colours to suggest the difference and
incorporating props and costumes in this piece. This exhibition has been my first area of research,
knowing that I want to make something with the same visual style of a museum-like exhibition, I have
previously made small installations including one with a theme of feminism in literature.

Through my examination, I have identified feminist installation artists or general installation artists with
a technical focus on films, as there hasn’t been a specific installation to highlight both themes. The main
artists I have taken inspiration from is Tracey Emin because of her raw interactive art and Barbara
Kruger whose work on the walls are vibrant and eye-catching. On top of this, I looked into film museums
such as The London Film museum to grasp the layout of props and the design of the museum itself.

I have looked into various films which would be beneficial to represent Hollywood’s portrayal of
women’s characters throughout different eras, represented in a provocative light and how it differs to
equality. From this, I started with screwball comedies such as It Happened One Night (Capra, 1934) with
Claudette Colbert’s famous leg scene to highlight men’s desire, implying the overall genre is suggested
to be “sexual energy suppressed under the watchful eye of the PCA”(Hart, 2006, pg 8). I have also
discovered other recognised classics in other eras that are classic such as Grease (Kleiser, 1978) and
Sixteen Candles (Hughes, 1984), which normalises rape culture and uses women purely for looks and
their body. Finally, I have researched modern approaches to the representation of women, with a direct
focus on women in the industry exploring more female-directed movies such as Kathryn Bigelow’s Zero
Dark Thirty (2012) and Patty Jenkin’s Wonder Woman (2017), although the latter is progressive, the
script was written by men and was made by eleven male producers and only two female producers.

In the silent era, women were the main directors and owned production companies, this all changed in
the talkies when the male order from bigger productions and financial advisors took over, degrading the
women’s work for early films. Movies at this time “altered the way women looked at the world and
reflected how men intended to keep it”, implying the power of the industry and its ability to alter a
hierarchal status (Rosen, 1973, pg 19). Women are still seen orbiting around this male-dominated
industry. People believe misogyny has effectively improved, and although it has to some extent,
modern research implies how these sexist situations are still happening in today’s media. It is an
ongoing process, therefore, I can educate and inform my audience by reflecting on Hollywood as a
whole.

METHODOLOGY:

I will be focussing on practise based research throughout my methodology process as the “field of
creative arts is a heterogeneous one”(Barrett and Bolt, 2010, pg 27), subsequently, enabling more
creative practice to investigate and to find the relevant knowledge to achieve the best possible
outcome.

In this study, I had to alter my documenting methods to interpret various information so that I can keep
a log of all my activities to provide evidence of my thought and developmental process. This includes
noting down my meetings with my partner, peers and lecturers, also, using a notebook to constantly
reflect on the subject matter and the research question itself. I will frequently look back on my research
question ‘Through production design, how can I identify Hollywood’s sexist representation of women in
male gaze and alter this observation into the female gaze‘; to guide my practise-based research onto
the right direction, to enable me to organise and create tasks to reach my goal. This is evident within my
Gantt chart owing from adding different practical researches to provide me with enough knowledge to
learn how to create a successful installation on sexism in Hollywood.

Due to how broad the subject matter gender is, I needed to conduct background and contextual
research, so I needed to thoroughly plan my investigation. I read books such as ‘The Research Project’
to find useful study techniques to prevent a “mindless accumulation of piles of unassimilated
pages”(Berry, 2013, pg 57) and to have more preciseness to engage in more relevant critical readings
and identifying particular themes.

Moreover, as well as the cognitive style of writing, I incorporated semiotic ways of research to enable
more creativity within my work. Using a sketchbook and collecting images in Padlet has been ways to
constantly reflect on my practical research and refine my ideas. The collaboration of these elements will
be a vital part of my research to ensure consistent analysis owing to how “language-based and art-
based art” consists of a great divide, yet can be beneficial as “different modes of imaginative projection
can be grouped together”(Barrett and Bolt, 2010, pg 15). Practise based research uses implicit
collaboration with other elements such as taking inspiration from others works like Judy Chicago’s
installation of ‘The Dinner Party’, to exploring films or documentaries with this theme to add this to my
art form.

Serendipity is another key role in my methodology, as it constantly occurs throughout the examination
process. These thoughts are from converging my knowledge with infusing the cognitive model, to
explore every thought I have based on my project; an example of this was the idea to focus on the
division between the male and female gaze.

CHALLENGE:

This will be a challenge for me as the installation will include five films with an overarching generalised
history of that era, so the prop sourcing and retrieving all the relevant information would be time-
consuming. Moreover, this project will test my ability to keep within the theme and prevent spiralling
into other topics as the subject of gender is very broad so it’s easier to waver into feminism, films and
the whole history of women. Another challenge is referring to both genders, so the project isn’t
referenced as entirely as a ‘radical’ feminist project. Both genders have grown up under certain
expectations, in terms of men, they are required to perform under heteronormative masculinity with
the “stability of various genres conventions compel a similar conformity on terms of representation of a
masculine ideal”(Dickinson, 2007, pg 187).

I am hoping to develop skills such as the ability to maintain consistency in my work so that the subject
matter is understandable for everyone. Also, to focus on my artistic skills to then challenge my ability to
design at a larger scale as I haven’t had the opportunity to be in full control of a set before.

I believe I will remain intellectually stimulated as there is plenty of films, books and documentaries
about the subject matter, so I can stay thoroughly entertained and have room to learn and adapt. I
will be learning about the history of props and costumes, producing more knowledge on production
design and how it has evolved as well as challenging myself with a focussed area. Also, I believe
there is space to evolve the idea of the gaze owing to the vast range of context.

This project involves collaboration, which can be a challenge as it involves “moderate judgement”
yet it can be “driven by democratic impulse and a commitment to knowledge sharing” (Hammond
and Wellington, 2012, pg 26); providing all areas of research for the project, to gain efficient
knowledge. The theme is very personal to me, and it has affected my sense of self and equally, as I
desire to have a career in film production, I want to have enough knowledge of the industry.

FEASIBILITY:

In terms of technical feasibility, I have all the equipment for the researching process as I am near the
University library and I also have a strong internet connection so I can gather resources. I have a
laptop so I can communicate with the crew and lecturers, also I have an external hard drive so that I
can put as much information on my laptop as possible. For the project itself, I need a variety of art
equipment such as paint, MDF board and projectors, which I have the skills for, yet they will cost
money.

Without any external help, I will not be able to afford to make this project. This is why I have
employed a production manager to develop and manage my project’s media status so we can create
a Crowdfunder and communicate through networking, I aim to receive £3000 worth of donations to
create my installation.

My project will be legal as I will reference all the resources that I’ll use for my project in my
groundwork, therefore, the marker can justify what work is my own and what is my research, so my
project remains ethical. I will ensure that my project will fulfil the assessment criteria as it challenges
existing practices, develop detailed knowledge and engage critically with my research question.

Since September, my team and I have created a rough timeline to identify how feasible the project
will be. I have given myself around four months starting from January to build the crew, starting to
source and create the layout of the project and then one week to set up the project at a location and
exhibit it for an audience. This is evident in my Gantt chart and I believe this will be a reasonable
timeframe for myself and crew members to follow and complete all individual tasks.

ALTERNATIVE:

I have brainstormed potential alternative projects if I am unable to create an installation at a rented

location. I looked back at my initial notes and mind maps to identify my other ideas to see if one could
be appropriate for an alternative idea. Owing to the amount of information on this topic, I initially
believed that a dissertation would be effective to get all these facts and my thoughts across in an
efficient thesis, although, I thought this will would be a challenge for me as it wouldn’t be intellectually
stimulating for my creativity.

One of my main thoughts is that I want to make a creative piece regardless if this was through
experimental film or a mini installation to highlight my artistic skills. Although, this project would’ve
been considered unpredictable owing whether I would have the finances to prop source and to create
an impactful installation. So, my alternative piece would be a video essay to reflect on the
representation of women in film, with a focus on the male gaze. As well as the information provided in
the media, the video essay would include some sketched scenes that have been altered from iconic
films to show from the perspective of the female gaze. This would develop my skills in stop motion
animation, contributing to my creativity within the design.

Moreover, this would be successfully added to my portfolio as I can present my development to create
this alternative project, from the information gained to creating sketches from my perspective of the
female gaze. Also, since completing the Future Learn three-week course on Production Design, I have
identified the key fundamentals on the previsualization stage of design, therefore, making my portfolio
comprehensive.

REFERENCES:

Barrett, E. and Bolt, B., 2010. Practice As Research: Approaches to Creative Arts Enquiry [online].
London, UNITED KINGDOM: I. B. Tauris & Company, Limited. Available from:
http://ebookcentral.proquest.com/lib/bournemouth-ebooks/detail.action?docID=676435
[Accessed 8 Nov 2020].
Berry, R., 2013. The Research Project: How to Write It [online]. Florence, UNITED KINGDOM: Taylor &
Francis Group. Available from: http://ebookcentral.proquest.com/lib/bournemouth-
ebooks/detail.action?docID=4898782 [Accessed 19 Nov 2020].

Dickinson, P., 2007. Screening Gender, Framing Gender: Canadian Literature Into Film. Toronto:
Scholarly Publishing Division.

Feminists: What Were They Thinking?, 2018. [film, online]. Directed by Johanna Demetrakas. US: Netflix.

Grease, 1978. [film, DVD]. Directed by Randal Klesier. US: Paramount Pictures.

Hammond, M. and Wellington, J., 2012. Research Methods: the Key Concepts [online]. London, UNITED
KINGDOM: Taylor & Francis Group. Available from:
http://ebookcentral.proquest.com/lib/bournemouth-ebooks/detail.action?docID=1047059
[Accessed 14 Dec 2020].

Hart, K.-P. R., 2006. Film and Sexual Politics. Newcastle upon Tyne: Cambridge Scholars.

It Happened One Night, 1934. [film, online]. Directed by Frank Capra. US: Columbia Pictures.

Miss Representation, 2011. [film, online]. Directed by Jennifer Siebel Newsom.

Portrait of a Lady on Fire, 2019. [film, DVD]. Directed by Céline Sciamma. France: Pyramide Films.

Rosen, M., 1973. Popcorn Venus; women, movies & the American dream [online]. New York, Coward,
McCann & Geoghegan. Available from: http://archive.org/details/popcornvenuswome00rose
[Accessed 15 Nov 2020].

Sixteen Candles, 1984. [film, online]. Directed by John Hughes. US: Universal Pictures.

This Changes Everything, 2018. [film, online]. Directed by Tom Donahue.

Wonder Woman, 2017. [film, DVD]. Directed by Patty Jenkins. US: Warner Bros. Pictures.

Zero Dark Thirty, 2012. [film, online]. Directed by Kathryn Bigelow. US: Sony Pictures Releasing.

BIBLIOGRAPHY:

Barrett, E. and Bolt, B., 2010. Practice As Research: Approaches to Creative Arts Enquiry [online].
London, UNITED KINGDOM: I. B. Tauris & Company, Limited. Available from:
http://ebookcentral.proquest.com/lib/bournemouth-ebooks/detail.action?docID=676435
[Accessed 8 Nov 2020].
Berry, R., 2013. The Research Project: How to Write It [online]. Florence, UNITED KINGDOM: Taylor &
Francis Group. Available from: http://ebookcentral.proquest.com/lib/bournemouth-
ebooks/detail.action?docID=4898782 [Accessed 19 Nov 2020].

Butler, J., 2006. Gender Trouble. 1st ed. Oxon: Routledge Classics.

Constable, H., 2020. Why aren’t there more women film directors? [online]. Available from:
https://www.bbc.com/culture/article/20191129-why-arent-there-more-women-film-directors
[Accessed 01 Dec 2020].

Dickinson, P., 2007. Screening Gender, Framing Gender: Canadian Literature Into Film. Toronto:
Scholarly Publishing Division.

February 20, Arts, 2019 | Minnah Stein |, and culture, 2020. The history and future of women in film -
Women’s Media Center [online]. Available from: https://womensmediacenter.com/fbomb/the-
history-and-future-of-women-in-film [Accessed 01 Dec 2020].

Feminists: What Were They Thinking?, 2018. [film, online]. Directed by Johanna Demetrakas. US: Netflix.

Grease, 1978. [film, DVD]. Directed by Randal Klesier. US:Paramount Pictures.

Hammond, M. and Wellington, J., 2012. Research Methods: the Key Concepts [online]. London, UNITED
KINGDOM: Taylor & Francis Group. Available from:
http://ebookcentral.proquest.com/lib/bournemouth-ebooks/detail.action?docID=1047059
[Accessed 14 Dec 2020].

Hart, K.-P. R., 2006. Film and Sexual Politics. Newcastle upon Tyne: Cambridge Scholars.

It Happened One Night, 1934. [film, online]. Directed by Frank Capra. US: Columbia Pictures.

Miss Representation, 2011. [film, online]. Directed by Jennifer Siebel Newsom.

Mulvey, L., 2019. Afterimages: on cinema, women and changing times. London: Reaktion Books LTD.

Pedace, R., 2020. Exploring the data on Hollywood’s gender pay gap [online]. The Conversation.
Available from: http://theconversation.com/exploring-the-data-on-hollywoods-gender-pay-gap-
127414 [Accessed 05 Nov 2020].

Portrait of a Lady on Fire, 2019. [film, DVD]. Directed by Céline Sciamma. France: Pyramide Films.

Rosen, M., 1973. Popcorn Venus; women, movies & the American dream [online]. New York, Coward,
McCann & Geoghegan. Available from: http://archive.org/details/popcornvenuswome00rose
[Accessed 15 Nov 2020].

Sixteen Candles, 1984. [film, online]. Directed by John Hughes. US:Universal Pictures.
This Changes Everything, 2018. [film, online]. Directed by Tom Donahue.

Wonder Woman, 2017. [film, DVD]. Directed by Patty Jenkins. US:Warner Bros. Pictures.

Zero Dark Thirty, 2012. [film, online]. Directed by Kathryn Bigelow. US:Sony Pictures Releasing.
Task Name Start Date End Date Duration Start Date in Number Form 42576.00 Use this number for the Minimum Bound of the Horizontal Axis to set the beginning of the chart.

Task One 25/07/2016 30/07/2016 5

25/07/2016 30/07/2016 04/08/2016 09/08/2016 14/08/2016 19/08/2016 24/08/2016 29/08/2016 03/09/2016
Task Two 27/07/2016 01/08/2016 5
Task One
Task Three 27/07/2016 04/08/2016 8 Task Two

Task Four 27/07/2016 06/08/2016 10 Task Three

Task Five 01/08/2016 09/08/2016 8 Task Four

Task Six 01/08/2016 05/08/2016 4 Task Fi ve

Task Seven 03/08/2016 10/08/2016 7 Task Si x

Task Seven
Task Eight 05/08/2016 12/08/2016 7
Task Eight
Task Nine 06/08/2016 09/08/2016 3
Task Nine
Task Ten 06/08/2016 10/08/2016 4
Task Ten
Task Eleven 07/08/2016 13/08/2016 6
Task Eleven
Task Twelve 10/08/2016 16/08/2016 6
Task Twelve
Task Thirteen 14/08/2016 19/08/2016 5
Task Thi rteen
Task Fourteen 15/08/2016 23/08/2016 8 Task Fourteen

Task Fifteen 16/08/2016 26/08/2016 10 Task Fi fteen

Task Sixteen 17/08/2016 28/08/2016 11 Task Si xteen

Task Seventeen 18/08/2016 29/08/2016 11 Task Seventeen

Key: Calculated Cell Manual Entry Cell

These cells will be automatically calculated based These cells require manual input so the calculated
on the inputs on other cells. cells have data to work with.
 Duration
Task Name Start Date End Date
(Days)

Task One 25/07/2016 30/07/2016 5

Task Two 27/07/2016 01/08/2016 5
Task Three 27/07/2016 04/08/2016 8
Task Four 29/07/2016 06/08/2016 8
Task Five 01/08/2016 09/08/2016 8
Task Six 01/08/2016 05/08/2016 4
Task Seven 03/08/2016 10/08/2016 7
Task Eight 05/08/2016 12/08/2016 7
Task Nine 03/08/2016 09/08/2016 6
Task Ten 06/08/2016 10/08/2016 4
Task Eleven 07/08/2016 13/08/2016 6
Task Twelve 10/08/2016 16/08/2016 6
Task Thirteen 14/08/2016 19/08/2016 5
Task Fourteen 15/08/2016 23/08/2016 8
Task Fifteen 16/08/2016 26/08/2016 10
Task Sixteen 17/08/2016 28/08/2016 11
Task Seventeen 18/08/2016 29/08/2016 11
Days Days Percent
Start Date in Number Form 42576.00
Complete Remaining Complete

2.50 2.50 50% 25/07/2016 30/07/2016 04/08/2016

3.75 1.25 75% Task One

2.00 6.00 25% Task Two

8.00 0.00 100% Task Three

6.00 2.00 75% Task Four

1.40 2.60 35% Task Fi ve

Task Si x
1.75 5.25 25%
Task Seven
4.90 2.10 70%
Task Eight
0.90 5.10 15%
Task Nine
2.40 1.60 60%
Task Ten
3.90 2.10 65%
Task Eleven
1.50 4.50 25%
Task Twelve
1.50 3.50 30% Task Thi rteen
4.00 4.00 50% Task Fourteen

4.00 6.00 40% Task Fi fteen

3.85 7.15 35% Task Si xteen

1.65 9.35 15% Task Seventeen

Key: Calculated Ce

These cells will be automatically

the inputs on other cells.
 Use this number for the Minimum Bound of the Horizontal Axis to set the beginning of the chart.

04/08/2016 09/08/2016 14/08/2016 19/08/2016 24/08/2016 29/08/2016

 Calculated Cell Manual Entry Cell

e cells will be automatically calculated based on These cells require manual input so the
nputs on other cells. calculated cells have data to work with.
nning of the chart.

03/09/2016
 Duration
Task Name Start Date End Date
(Days)

1) Meeting with James 09/11/2020 10/11/2020 1

2) Initial supervisor meeting 09/11/2020 10/11/2020 1
3) Pick films for all the rooms 13/11/2020 14/11/2020 1
4) Sketch out design layouts fro eachroom 13/11/2020 14/11/2020 1
5) Meeting Louise 16/11/2020 17/11/2020 1
6) Location scouting to find room 18/11/2020 17/01/2021 60
7) Risk Assessment for room 20/11/2020 23/11/2020 3
8) Come up with a title 20/11/2020 21/11/2020 1
9) Set up Facebook page 22/11/2020 24/11/2020 2
10) Watch films and documentaries 16/11/2020 26/12/2020 40
11) Exploration of different installation artists 17/11/2020 17/12/2020 30
12) Academic reading 16/11/2020 11/12/2020 25
13) Hire set dressers 24/11/2020 01/12/2020 7
14) Meeting with Lizzie 30/11/2020 01/12/2020 1
15) Sketching prop design 03/12/2020 18/12/2020 15
16) Make small models 05/12/2020 04/01/2021 30
17) Research QR codes 09/12/2020 13/12/2020 4
18) Hire production manager 18/12/2020 02/01/2021 15
19) Brainstorm interactive tasks 09/12/2020 27/12/2020 18
20) Meeting with Anya to reevaluate 12/12/2020 13/12/2020 1
21) Draft logo design 12/12/2020 16/12/2020 4
22) Create survey for target audience 19/12/2020 25/12/2020 6
23) Initial meeting with production manager 28/12/2020 29/12/2020 1
24) Finalise logo design 24/12/2020 08/01/2021 15
25) Prop sourcing 08/01/2021 17/02/2021 40
26) Hire actors 14/01/2021 22/01/2021 8
27) Create a crowdfunder 06/01/2021 09/01/2021 3
28) Post to hire costume designers 12/01/2021 20/01/2021 8
29) Supervisor meeting 13/01/2021 17/01/2021 4
30) Full crew meeting 17/01/2021 22/01/2021 5
31) Budget plan 25/01/2021 04/02/2021 10
32) Prop and costume inventory 27/01/2021 11/02/2021 15
33) Look around location 03/02/2021 04/02/2021 1
34) Create QR codes 05/02/2021 07/03/2021 30
35) Post production process on fb 06/02/2021 17/04/2021 70
36) Produce production schedule 20/02/2021 01/03/2021 9
37) Risk assessment 24/02/2021 03/03/2021 7
38) Create dimensions for installation walls 03/03/2021 11/03/2021 8
39) Actor costume fittings 15/03/2021 21/03/2021 6
40) Start making costumes 12/03/2021 11/04/2021 30
41) Order walls and paint 17/03/2021 27/03/2021 10
42) Meeting with actors 19/03/2021 20/03/2021 1
43) Order projectors 19/03/2021 20/03/2021 1
44) Make interactive activitives 22/03/2021 06/04/2021 15
45) Supervisor meeting 28/03/2021 29/03/2021 1
46) Full crew meeting 02/04/2021 03/04/2021 1
47) Show set dresser location layouts and plans 28/03/2021 31/03/2021 3
48) Provide tickets for exhibition 25/03/2021 04/04/2021 10
49) Painting the walls 05/04/2021 20/04/2021 15
50) Complete the costumes 05/04/2021 13/04/2021 8
51) Set up the exhibition 17/04/2021 22/04/2021 5
52) Take videos/photos of exhibition 22/04/2021 23/04/2021 1
53) Showcase the exhibiton 23/04/2021 25/04/2021 2
54) Take down the installation 25/04/2021 27/04/2021 2
55) Edit the video of installation 29/04/2021 13/05/2021 14
56) Upload rest information on fb 02/05/2021 06/05/2021 4
57) Reflection essay 01/05/2021 16/05/2021 15
58) Submit the grad project 25/05/2021 26/05/2021 1
Days Days Percent
Start Date in Number Form
Complete Remaining Complete 44134.00
0.00 1.00 30/10/2020
04/11/2020
09/11/2020
14/11/2020
19/11/2020

0.00 1.00 1) Meeting wi th James

0.00 1.00 2) Initial superv isor meeting

0.00 1.00 3) Pick films for all the rooms

0.00 1.00 4) Sk etch out design layouts fro eachroom

0.00 60.00 5) Meeting Louise

0.00 3.00 6) Location scouting to find room

0.00 1.00 7) Risk Assessment for room

0.00 2.00 8) Come up with a title

0.00 40.00 9) Set up Facebook page

0.00 30.00 10) Watch films and documentaries

0.00 25.00 11) Exploration of different i nstallation artists

0.00 7.00 12) Academic reading

0.00 1.00 13) Hi re set dressers

14) Meeting with Lizzie

0.00 15.00
15) Sketching prop design
0.00 30.00
16) Make small models
0.00 4.00
17) Research QR codes
0.00 15.00
18) Hi re production manager
0.00 18.00
19) Brainstorm interactive tasks
0.00 1.00
20) Meeting with Anya to reevaluate
0.00 4.00
21) Draft logo design
0.00 6.00
22) Create survey for target audience
0.00 1.00
23) Initial meeting with production manager
 23) Initial meeting with production manager
0.00 15.00
24) Finalise logo design
0.00 40.00
25) Prop sourcing
0.00 8.00
26) Hi re actors
0.00 3.00
27) Create a crowdfunder
0.00 8.00
28) Post to hire costume designers
0.00 4.00 29) Supervisor meeting
0.00 5.00 30) Full crew meeting

0.00 10.00 31) Budget plan

0.00 15.00 32) Prop and costume inventory

0.00 1.00 33) Look around location

0.00 30.00 34) Create QR codes

0.00 70.00 35) Post production process on fb

0.00 9.00 36) Produce production schedule

0.00 7.00 37) Risk assessment

0.00 8.00 38) Create dimensions for installation walls

0.00 6.00 39) Actor costume fittings

0.00 30.00 40) Start making costumes

0.00 10.00 41) Order walls and paint

0.00 1.00 42) Meeting with actors

43) Order projectors

0.00 1.00
44) Make i nteractive activitives
0.00 15.00
45) Supervisor meeting
0.00 1.00
46) Full crew meeting
0.00 1.00
47) Show set dresser location layouts and plans
0.00 3.00
48) Provi de tickets for exhibiti on
0.00 10.00
49) Painting the walls
0.00 15.00
50) Complete the costumes
0.00 8.00
51) Set up the exhibition
0.00 5.00
52) Take videos/photos of exhibition
0.00 1.00
53) Showcase the exhi biton
0.00 2.00
54) Take down the installation
0.00 2.00
55) Edit the vi deo of installation
 55) Edit the vi deo of installation
0.00 14.00
56) Upload rest i nformation on fb
0.00 4.00
57) Reflection essay
0.00 15.00
58) Submit the grad project
0.00 1.00

Key: Calculated Ce

These cells will be automatically

the inputs on other cells.
 Use this number for the Minimum Bound of the Horizontal Axis to set the beginning of the chart.

04/11/2020
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24/11/2020
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04/12/2020
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17/02/2021
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04/03/2021
09/03/2021
14/03/2021
19/03/2021
24/03/2021
29/03/2021
03/04/2021
 Calculated Cell Manual Entry Cell

e cells will be automatically calculated based on These cells require manual input so the
nputs on other cells. calculated cells have data to work with.
nning of the chart.

24/03/2021
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03/04/2021
08/04/2021
13/04/2021
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28/04/2021
03/05/2021
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02/06/2021
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