Film Studies and Cinematography PROJECT1 DEVELOP SHORT STORY
ZHOU YUTONG / 0378676
Week1---Week6
Film Studies and Cinematography / Bachelor of Design (Honours) in Creative Media
PROJECT1 DEVELOP SHORT STORY
TABLE OF CONTENT
- INSTRUCTIONS
- LECTURE
- EXERCISE
- PROJECT
- FEEDBACK
- REFLECTION
LECTURE
Activity 1
Watch Pixar SparkShorts “Purl”
1) Describe your EMOTIONAL journey when watching the short?
While watching *Purl*, my emotions gradually shifted. At first, I found it a bit funny because the male colleagues' exaggerated speech created a somewhat absurd atmosphere. But when Purl joined the company and was ignored and unable to join the conversation, I started to feel uncomfortable and embarrassed for her. Especially her efforts to fit in but being constantly overlooked—that feeling was quite real.
Later, she began to change herself, imitating their way of speaking and behaving. That part made me feel conflicted. On one hand, I felt she had finally integrated, but on the other hand, it seemed she wasn't the same person she used to be. Finally, when she chose to help another new "different person," that moment felt warm, and I also felt a sense of "finally doing the right thing."
2) How can you RELATE with your own personal experiences? Do you have similar experiences?
Yeah, I can relate to it quite a bit. I have had moments where I entered a new environment—like a new class or group—where everyone already seemed comfortable with each other, and I felt a bit out of place. It’s not that anyone was being openly mean, but more like I just didn’t quite fit into the existing dynamic, so it was hard to join conversations or really be noticed.
There were also times where I found myself adjusting how I acted or spoke, just to match the people around me better.
3) Is the story INTERESTING? (What make the story interesting)
Yeah, I think the story is interesting, mainly because of how it presents a serious topic in a simple and slightly funny way. The idea of a pink ball of yarn working in a very “serious” office full of identical men in suits is already quite unusual, so it immediately catches attention.
4) Discuss the Character, Setting, Obstacles and Theme.
Purl represents someone who is different and doesnt really fit into the office culture. She just wants to be accepted, but at the beginning she doesnt know how. The men in suits aren’t very detailed as individuals, but together they show a very uniform and closed-off group.
The setting is a normal office, but it feels cold and unwelcoming. Even though nothing looks strange, the way people act makes it clear that it’s not an inclusive environment. It almost feels like there are two sides—one where everyone fits in, and one where Purl doesnt.
The main obstacle is social. Purl isn’t accepted because she’s different, and she has to decide whether to change herself or stay the same. This inner struggle is the most important part of the story.
The theme is about fitting in and being yourself.
Activity 2
Everyone like story differently for some specific reasons. Which part in the story that give you the most relatability in term of:
Personal Experience
Emotional Connection
and explain why?
The part of the story that feels most relatable to me is when Purl first enters the office and tries to join in, but gets ignored or doesn’t really fit into the conversation. That situation feels very familiar in terms of personal experience, because when entering a new environment—like a new class or group—it’s easy to feel like an outsider at the beginning. People already have their own way of talking and interacting, so it can take time to naturally become part of it.
Activity 3
Come up with 3-5 of your own “what if” ideas.
What if those men in suits were actually pretending to be "fitting in," but were also uncomfortable inside?
What if the newcomer wasn't "another Purl," but someone who completely didn't want to fit in?
What if this story wasn't happening in a company, but at a school?
Activity 4
Part A: Return to Pixar SparkShorts. Identify the worlds and characters in each. Write these down.
Who are the main characters?
Is there a character you identify with most?
Where does the movie take place? Is it one world or multiple worlds?
Part B: Try mixing a character and world from different shorts. Try this and see what happens.
The main characters in Bao are the mother and the dumpling (bao baby) she creates. The mother is the central figure of the story, and the bao dumpling acts like her “child,” representing her emotions, loneliness, and need for connection.
The character I can identify with most is the mother, because her feelings of wanting to protect someone she loves and struggling with letting go are very real and human. Even though the situation is symbolic and a bit surreal, the emotions behind it feel familiar.
The story mainly takes place in one world: a small, everyday home environment. It shows domestic life, especially the kitchen and family spaces. However, emotionally it also feels like there are two layers of “worlds”—the real world of daily life, and the emotional/imaginary world created by the mother through the bao dumpling.
Activity 5
Project 1: Progression 1 (Story Ideas)
Choose any Pixar short for inspiration.
Analyse how this story become a great story from emotional connection and personal experiences.
INTERESTING, EMOTIONALLY CONNECTED, UNIQUE PERSPECTIVE
The story of 《Cars》is actually quite appealing, mainly because while it appears to be about the world of racing, it tells a very realistic story of growth and change.
Initially, McQueen is a confident man who only cares about winning; he believes that being the fastest is enough. But after being trapped in a small town, he gradually comes into contact with different people and lifestyles, especially his interactions with the tow truck driver and the townspeople. His perspective begins to change. This process is quite relatable because many people go through similar phases in their growth—initially wanting to prove themselves, but later realizing that people and relationships are also important.
From a personal experience perspective, this change feels very real. For example, in studying or racing, one might initially focus on grades and results, but gradually realize that the process, the team, and the people around them are equally important. It's somewhat like McQueen's transformation from "only wanting to win" to "starting to understand others."
What makes this story interesting is that it uses cars as a setting to tell a human story. Cars are inherently emotionless, but here they have personalities and emotions, making it easy for readers to empathize. Moreover, the contrast between the fast-paced world of racing and the slow-paced life of a small town makes McQueen's transformation seem more natural.
Week 2
Activity 1 - Understand character’s personality
Watch pixar short “BAO” directed by Domee Shi
Identify characters in the story and their roles in the story.
Describe the personality of each characters in the story, knowing how he/she reacted in difficult situations.
Mother
Role: Main character, the story revolves around her.
Personality: Gentle and caring, but somewhat lonely and controlling.
When faced with problems: When "Baozi" grows up and wants to leave, she struggles to accept it, loses control of her emotions, and ultimately does something extreme (eats Baozi). This stems from her extreme fear of losing him.
Bao
Role: Symbolizes her child.
Personality: Well-behaved and dependent on his mother as a child, but grows up wanting freedom and becoming somewhat rebellious.
When faced with problems: When his mother is too controlling, he rebels and wants to live his own life.
Real Son
Role: The child in real life, corresponding to "Baozi's" growth.
Personality: Relatively independent, somewhat distant from his mother, but not bad.
When faced with problems: Initially doesn't consider his mother's feelings, but later returns and reconciles.
Father
Role: Secondary character.
Personality: Quiet and doesn't express emotions much.
When faced with problems: Doesn't participate much, mostly observing from the sidelines.
Activity 2 - External and Internal Features
Protagonist: The Mother
External Features:
Middle-aged woman, slightly plump.
Short hair, wearing simple loungewear.
Very expressive, especially gentle when cooking and caring for "Baozi" (her son).
Overall, she presents a typical image of a housewife.
Internal Features:
Loving and caring.
Innerly lonely because her son is older and doesn't spend much time with her.
Somewhat dependent on her child, placing all her emotions on "Baozi".
Quite controlling, finds it difficult to accept her child growing up and leaving.
Emotionally sensitive, becomes extreme when faced with separation.
Activity 3: Wants and Needs
Mother
Statement: The mother wants to keep her child close, but she needs to learn to let go.
What she wants most: To always be with her child and not feel left behind.
Who she wants to become: A mother who is needed by her child and always has their company.
What she needs: To accept that her child is growing up, learn to let go, and establish a new emotional balance.
Bao
Statement: Bao wants freedom, but he needs to understand his mother’s love.
What he wants most: To be independent, free, and live his own life.
Who he wants to become: An adult with his own choices.
What he needs: To understand his mother's feelings and find a way to get along with her.
Real Son
Statement: The son wants independence, but he needs to reconnect with his mother.
What he wants most: To have his own living space and not be restricted.
Who he wants to become: An independent and mature person.
What he needs: To be more considerate of his mother, proactively communicate with her, and care for her.
Father
Statement: The father wants peace in the family. But he needs to be more emotionally involved.
What he wants most: A harmonious family, free from conflict.
Who he wants to become: A stable family member.
What he needs: To express emotions more proactively, instead of always being a bystander.
Activity 4: Obstacles
Mother
External Obstacles:
The son is growing up and becoming more independent, no longer needing her. Changes in family relationships (the son has his own life, a girlfriend).
Internal Obstacles:
Fear of loneliness, fear of abandonment. Strong controlling nature, unwilling to let go. Emotionally dependent on the child, difficult to accept change.
Bao
External Obstacles:
The mother is overprotective, restricting his freedom. Being controlled, unable to make decisions independently.
Internal Obstacles:
Not mature enough, not good at handling the relationship with the mother. Conflict between "wanting independence" and "depending on the mother."
Real Son
External Obstacles:
The mother's emotional pressure and control. The sense of responsibility brought about by family relationships.
Internal Obstacles:
Somewhat ignoring the mother's feelings. Not good at expressing emotions and communicating.
Father
External Obstacles:
Emotional conflict within the family.
Internal Obstacles:
Too passive, not actively participating in problems. Not good at expressing emotions.
Activity 5: Character Arc
The Mother's Growth and Changes
At the beginning (What she initially wanted): She wanted her child to always be by her side, to feel needed, and not lonely.
By the end (What she finally realized): She realized she needed to learn to let go, to allow her child to grow up, and at the same time, to love and interact with her in a healthier way.
Activity 6: Stake
Mother
Important Choice:
When Baozi wants to leave and become independent, does she choose to let go or forcibly keep him?
Stakes:
If she lets go: She will become very lonely. If she doesn't let go: It might hurt the child and damage the relationship (which ultimately happened).
Type:
Internal: Her fear of loneliness, her need for control.
External: The child is actually leaving her.
Philosophical: Is love about "keeping" or "letting go"?
Project 1: Progression 2 (Character Development)
To do: Develop character from the story ideas that you have generated from previous progression (Story Ideas) to character description statement.
Give character a name
Develop his/her personality traits, use ‘elevator test’ as a scenario.
Develop his/her internal and external features.
Develop his/her internal and external obstacles.
Develop character’s wants and needs.
Develop character’s change as a result from overcoming obstacles
Xu Yun was first remembered in the museum world not because of her talent, but because of a failure.
Three years ago, she participated in the restoration of a Northern Song Dynasty celadon ewer.
When the artifact was unearthed, it was already severely damaged. The glaze had weathered away, the mouth of the vessel was missing, and fine cracks covered its surface. According to proper conservation principles, the piece should have retained those traces of time, receiving only structural stabilization and minimal repair.
But that year, the museum was preparing for its most important annual exhibition.
The director wanted the ewer to become the centerpiece of the show.
“Visitors don’t want to look at a broken pot.”
“It should at least appear complete in the display case.”
“Aren’t you our best restorer?”
Those words stayed with Xu Yun constantly.
Yet she was not simply pressured into it.
More than anyone else, she could not tolerate the idea of “imperfection.”
When she was a child, her father once accidentally broke an old porcelain bowl at home. The bowl was not valuable, but her mother remained silent for days afterward. Young Xu Yun secretly gathered the shattered pieces and tried to glue them back together herself.
No matter how carefully she worked, the cracks remained.
It was the first time she realized:
Some things, once broken, can never truly return to what they were before.
That feeling unsettled her deeply.
Years later, after becoming a conservator, she gradually began to treat “restoring completeness” as proof of her own worth. She enjoyed the amazement people expressed when artifacts seemed to “come back to life,” and she became accustomed to hearing compliments like, “You can’t even tell it was repaired.”
Over time, she came to believe that true restoration meant making damage disappear entirely.
So while restoring the Northern Song ewer, she noticed the problem very early on.
The first time she applied color retouching, she realized the new pigments were already covering the original weathered surface.
The second time she reconstructed the rim, she noticed the new edges looked even more “perfect” than genuine Song Dynasty craftsmanship.
By the end, standing before the worktable and staring at the finished ewer, she felt something strange.
It no longer looked like an artifact that had survived for a thousand years.
It looked like a version of the past that had been manufactured.
But she continued anyway.
Because if she stopped, she would have to admit something she could not bear to face:
The artifact could never truly return to its original form.
And neither could she.
At first, the exhibition was a success. People praised her work endlessly.
Then a scholar publicly criticized the restoration, arguing that the ewer had been “over-restored,” that the traces of history had been erased, and that the artifact had lost its authenticity. Soon more criticism followed.
“It no longer looks historical.”
“It looks fake.”
“She restored her own imagination, not history.”
The controversy spread quickly through the field.
Xu Yun never defended herself.
Because she knew they were right.
What she could not face was not the criticism itself, but the fact that she had sensed the problem all along and still chose to continue.
Soon afterward, she resigned from the museum restoration department.
—
For a long time after leaving, she no longer worked on major artifacts.
She moved into a small studio in the old part of the city and accepted only private commissions: cracked wooden boxes, old clocks, chipped teacups.
She remained quiet and meticulous, often working an entire day without speaking.
But now, she began leaving cracks visible.
She no longer insisted that everything must look “as good as new.”
Still, she could not face her own past.
Whenever someone recognized her name, she quickly changed the subject.
—
One winter, a year later, the museum contacted her again.
At first, she ignored the calls.
Then she saw who it was: Chen Henian, the elderly master restorer who had once trained her.
Master Chen was now in his sixties. In his younger years, he could work under a magnifying lens for twelve straight hours, but now his hands trembled whenever he held a tool.
“Come back for a while,” he said quietly over the phone.
“We have a problem.”
—
The museum was preparing for a major international exhibition.
Its centerpiece was a newly excavated Tang Dynasty painted Buddha head.
During transportation, the base fractured, and the crack spread all the way across the face. Worse still, the painted surface had already become fragile with age. One mistake during restoration could cause the pigments to peel away entirely.
The exhibition would open in less than a month.
No one dared to take responsibility for the restoration.
Master Chen had already attempted the repair once. His trembling hands caused a tool to slip, nearly creating further damage.
Finally, the museum director suggested bringing Xu Yun back.
Some immediately objected.
“Her?”
“Have you forgotten what happened before?”
“What if she turns it into another fake?”
The meeting room fell silent.
Xu Yun said nothing.
She only looked at the Buddha head.
The face was incomplete.
A deep crack ran from the forehead to the corner of the mouth, like a wound carved by time itself.
Suddenly, she remembered the Northern Song ewer.
Back then, what she feared most was imperfection.
That was why she had desperately tried to restore everything to its original state.
—
In the end, she accepted the work.
For the next several weeks, she practically lived inside the restoration studio.
The worktable lights remained on deep into the night.
Wearing gloves, she examined the fracture lines repeatedly under a microscope, carefully recording the condition of the painted layers. Everyone waited for her to present a “complete restoration plan,” but she delayed giving an answer.
Because she realized something unavoidable:
The Buddha head could never be fully restored.
No matter how advanced the technique, the crack would remain.
Trying to conceal it would only damage the original structure further.
She became increasingly anxious.
For several days, she could barely bring herself to continue.
One evening, Master Chen sat beside her, watching the tool frozen in her hand.
“Do you know why old things are worth preserving?” he asked.
Xu Yun remained silent.
“It’s not because they were never broken.”
“It’s because they survived after being broken.”
—
The next day, Xu Yun changed the restoration plan entirely.
She abandoned the traditional method of concealment.
Instead of hiding the fracture, she stabilized the structure using transparent materials and performed only minimal reintegration where necessary.
The crack remained visible.
Under the exhibition lights, it could even be seen clearly.
Many people did not understand her decision.
“So visitors can just see the damage?”
For the first time in years, Xu Yun answered without hesitation.
“Because it was truly damaged.”
“That is not something that needs to be hidden.”
“It is part of what allowed it to survive until today.”
—
On the opening day of the exhibition, the Buddha head stood at the center of the gallery.
Visitors approaching the display could clearly see the crack across its face.
Yet somehow, it did not appear fragile.
Instead, the fracture felt like a visible trace of time itself.
Some visitors stood silently before it for a long time.
Others began discussing whether restoration should erase history at all.
Even one of the scholars who had criticized Xu Yun years earlier admitted in an interview:
“This restoration does not attempt to deceive time.”
—
One evening after the exhibition ended, Xu Yun remained alone in the restoration studio.
The setting sun stretched across the worktable.
She looked quietly at the Buddha head and suddenly realized something:
For all these years, what she truly wanted to repair had never been the artifacts.
It was her own failure.
She had spent years trying to erase the cracks, pretending nothing had ever happened.
But now she finally understood:
Some things can never return to what they once were.
What matters is not disguising the wounds as if they never existed.
What matters is allowing something to continue existing truthfully, even after it has been broken.
Character a namew
Personality Traits (Elevator Test Scenario):
Xu Yun is calm, patient, and highly focused, but emotionally reserved.
Elevator Test：
If she is stuck in an elevator with a stranger, she will remain quiet and composed. She may notice small details—scratches on the wall, dust on the buttons.
If the stranger starts a conversation, she responds politely but briefly. However, if the topic shifts to “old objects” or “history,” she becomes unexpectedly engaged and talks in detail.
When asked about her own past, she quickly avoids the topic, showing her discomfort with personal memories.
Internal Features:
- Conservatism
- Extremely patient and detail-oriented
- Silent people
- perfectionism
- Strong sense of responsibility
- Avoids confronting personal experiences.
- Fear of failure
- Slim build, slightly hunched posture from long hours of delicate work
- Wears simple, neutral-toned work clothes
- Hair tied back neatly,
- Often carries fine restoration tools
- Under orders from her superiors, she over-restored the artifact—erasing its original historical traces. Later, scholars identified the artifact as “inauthentic,” damaging both its value and her professional credibility
- Difficulty expressing emotions
- Fear of failure
- The artifact itself is extremely fragile.
- The fracture can never be completely erased.
- The exhibition deadline is rapidly approaching.
- Many people inside the museum no longer trust her after her previous failure.
- The elderly conservator, Master Chen Henian, is no longer physically capable of completing the restoration because of his trembling hands.
Wants:
Xu Yun wants to prove that she is still a skilled and worthy conservator.
When the museum asks her to return and restore the damaged Tang Dynasty Buddha head, she sees it as an opportunity to accomplish an almost impossible restoration and recover the professional reputation she lost in the past.
Needs:
What Xu Yun truly needs to learn is:
To accept that some things can never return to their original state.
She must understand that:
- Restoration is not about erasing scars.
- Cracks do not mean failure.
- Like artifacts, people can never truly return to who they once were.
Character’s change as a result from overcoming obstacles
The turning point came when Xu Yun was asked to restore a severely damaged Tang Dynasty Buddha head for an important exhibition. The fracture across the artifact’s face could never be completely erased, no matter how advanced the restoration techniques were. At first, Xu Yun insisted on using traditional methods to hide the crack and restore the artifact to its “original” appearance. However, repeated attempts only caused further damage and instability. Gradually, she realized that the problem was not her technique, but her belief that the traces of time could be completely removed. In the end, she made a different choice. Instead of covering the crack, she used transparent materials to preserve and stabilize it, allowing the fracture to remain visible as part of the artifact’s history.
Week 3
ACT 1 1. Once upon a time…
Once upon a time, there was a young artifact conservator named Xu Yun who was known for her precision and patience. She worked in a museum restoration department, spending her days repairing ancient objects that had survived centuries of damage and decay. To others, she seemed calm and talented, someone capable of bringing history back to life.
But deep inside, Xu Yun feared broken things.
As a child, she once tried to repair a shattered porcelain bowl at home, only to realize that no matter how carefully she glued the pieces together, the cracks would always remain. Since then, she had believed that true restoration meant making damage disappear completely.
2. Every day…
Every day, Xu Yun devoted herself to restoring artifacts until they looked whole again. She became obsessed with perfection, believing that the highest praise a conservator could receive was: “You can’t even tell it was repaired.”
When the museum prepared a major exhibition, Xu Yun was assigned to restore a severely damaged Northern Song Dynasty celadon ewer. The artifact had missing pieces, weathered glaze, and visible cracks. Proper conservation methods suggested preserving these traces of time.
But the museum wanted the piece to appear complete and beautiful for display.
At first, Xu Yun hesitated. She noticed that each layer of repainting covered more of the artifact’s original surface. She realized the restored edges looked too perfect, too new.
Yet she continued.
Because accepting the damage meant accepting that some things could never truly return to the way they once were.
3. Until one day…
Until one day, a scholar publicly criticized the restoration, accusing the museum of over-restoring the artifact and destroying its authenticity. Soon, more criticism followed.
People called the ewer “fake.”
They said Xu Yun had erased history instead of preserving it.
Although the museum shared responsibility, Xu Yun could not defend herself, because she already knew they were right.
Ashamed and unable to face her mistake, she resigned from the museum.
ACT 2 4. Because of that…
Because of this incident, Xu Yun began to distance herself from the world of cultural relic restoration.
She moved into a small studio in the old town, only accepting private commissions, such as for old clocks, wooden boxes, and teacups. Unlike before, she no longer tried to cover up all the flaws. Even so, she still refused to talk about her past. Whenever someone brought up the restoration incident from years ago, she would immediately change the subject. She felt that her career was over.
5. Because of that…
Because of this incident, when the museum contacted her again a year later, she initially refused.
The museum was about to host an international joint exhibition, but the core exhibit—a newly unearthed Tang Dynasty painted Buddha head—had broken during transport.
The crack ran through the Buddha's face, and the fragile paint layer was on the verge of peeling off.
No one dared to take on the restoration.
Even Chen Henian, the veteran restorer who had once taught Xu Yun, was too old and shaky to operate the tools steadily.
There was less than a month left before the opening.
The museum ultimately had no choice but to ask Xu Yun to return.
Many people objected.
They hadn't forgotten her past failure.
But when Xu Yun saw the Buddha head, she couldn't turn away.
That clear crack was so much like what she had been trying to hide all these years.
6. Because of that…
Because of this incident, Xu Yun finally accepted the restoration work and began studying the Buddha head day and night.
Initially, she still tried to design a solution that could "completely cover the cracks."
But each attempt made her feel uneasy.
She gradually realized:
Forcibly covering the cracks would only further damage the original structure of the artifact.
The Buddha head could never be made "perfect" again.
This fact forced her to confront the question she had been avoiding for years.
One late night, Chen Henian sat beside her and whispered:
"Old things are worth keeping, not because they've never been broken."
"But because they can still be preserved after they've been broken."
These words changed Xu Yun's understanding of "restoration.
ACT 3 7. Until finally…
In the end, Xu Yun abandoned her obsession with "perfect restoration."
Instead of concealing the crack, she used a transparent material to stabilize the structure, making only the bare minimum of necessary repairs.
The crack was preserved intact.
Once the exhibition opened, visitors could clearly see the crack on the Buddha's face.
Strangely, this did not make the artifact appear fragile.
On the contrary, the crack made it appear more authentic.
Many people stood in front of the display case for a long time, silently gazing at it.
Even scholars who had previously criticized Xu Yun admitted that this restoration truly respected history.
8. And ever since then…
From then on, Xu Yun no longer believed that restoration meant "restoring it to its original state."
She began to understand:
Some scars shouldn't be hidden.
Whether it's a cultural relic or a person, damage itself is part of existence.
From then on, her restoration of cultural relics was no longer about erasing the past.
But about allowing them to truly continue to exist.
The moral of the story is…
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