This thesis examines how the concept of an auteur (author of a film) has developed within contemporary Hollywood and popular culture. Building on concepts from Timothy Corrigan, this thesis adapts the ideas of the author and the commercial auteur to examine how director Christopher Nolan's name, and film work, has become branded as "realist" by the Hollywood film industry and by Nolan's consistent self-promotion. Through recurring signatures of "realism," such as, cinematic realism (immersive filmic techniques), technical realism (practical effects and actual locations), subjective realism (spectator access to a character's point of view), psychological realism (relatable motivations) and scientific realism (factual science), Nolan's work has become a recognizable and commoditized brand. Like many modern-day auteurs, Nolan himself has been used as a commodity to generate interest to his working methods and to appeal audiences to his studio films. Analyzing each of Christopher Nolan's films along with the industrial and cultural factors surrounding them, a method for understanding contemporary auteurism in Hollywood is presented. Through a consideration of extra-textual components, including promotional featurette's and journalistic interviews with Nolan, as well as his film crew, this thesis will explore how Nolan might be considered a template for a future of auteur branding.

Bad Paper follows the lives of former military service members, who have received an other-than-honorable discharge, but also have service-connected post traumatic stress disorder (PTSD). Due to the "suck it up" culture of the military, many of these veterans would not report any psychological troubles in fear of being labeled "weak" and potentially affecting their promotions. With no outlet for their PTSD, drugs and alcohol became a way of "self-medicating," which led to their dismissal from the service. A dishonorable discharge, commonly called "bad paper," from the military disqualifies veterans from receiving help from the VA. The process to overturn this status is arduous and veterans must navigate the bureaucracy of the Veterans Affairs (VA) administration as well as the individual military branches with virtually no help from either.

Visceral Data is a short documentary formatted for 360-cinema (commonly referred to as virtual reality or VR) that explores the integration of art and science, and how aesthetically creative treatments of raw data are an engaging way to interpret complex information. With Roger Malina, executive editor of Leonardo, the world's foremost academic journal for the intersections of art, science, and technology, providing a narrative overview of the subject, six art-scientists/science-artists discuss specific pieces of their artistic output to provide examples. As Roger Malina asserts, civilization is "going through an epistemological revolution as deep as the Copernican Revolution," and as we progress further into the 21st century, we will need hybrid professionals working in the arts and sciences to help humanity navigate through the age of big data.

Black Reparations Film Project: Descendants of Slavery and Institutional Racism is a character driven film that sheds light on the consequences of slavery in the U.S. Through a personal narrative, the viewer comes to understand how these consequences support the argument for slavery reparations. The purpose of the film is to bridge the generational gap in awareness of reparation history. The film can be used to enlighten young Americans of all ethnicities to encourage them to find their purpose in this country, help build better race relations, and work towards building a true democracy.

Don't Frack With Denton chronicles the ground-breaking movement to ban hydraulic fracturing in the city of Denton, Texas by combining observational location shooting with extensive sit-down interviews and carefully negotiated subject-filmmaker relationships to create a safe and comfortable space for thoughtful reflection and criticism of a complex social movement who's activities span several years and many individuals. The result is a long-form documentary that is unapologetically in solidarity with this movement's goals while simultaneously maintaining enough editorial independence and critical distance to allow the activists themselves to honestly evaluate their decision-making, tactics and interpersonal relationships in ways that will provide insight and instruction to similar movements around the country and the world.