Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes bibliographical references. / by Benjamin Bergery. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes bibliographical references (leaves 58-59). / by Claude Chelli. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979.

by Chan Hing-kuen, Ko Hung-yue. / Bibliography: leaves 88-90 / Thesis (M.B.A.)--Chinese University of Hong Kong, 1985

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1978. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / by Richard Peña. / M.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / by John Chittick. / M.S.V.S.

This thesis investigates performance, identity, representation and shame in documentary filmmaking. Identities that are performed and mediated through a relationship between filmmaker and participant are examined with detailed reference to two decades of my own practice. A reflexive, feminist approach engages my own films - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of filmed participants using social media to contest their image on screen. In the space between documentary confession and the reception of a story by the audience, a dangerous moment comes, in which shame can be received, perceived, projected, internalised or imagined. The point of this research is to offer to existing documentary theory a practitioner's understanding of the processes which produce shame and to establish for documentary filmmakers some practical ways to resist and prepare against the rupture in identity that representation can cause those they film. Engaging both theory and practice in pursuit of the same research questions, I make a self-reflexive investigation into the ethics, affect and impact of representing others, employing the mediums and methods of fans to answer their complaints. All the films, artwork, documentation of the installation, sources, written work, appendices and past documentaries referred to in this thesis can be best experienced online at https://daisy-asquith-xdrf.squarespace.com, the website hosting this PhD, but are also provided on the accompanying USB drive.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes index. / The considerations, potential and limit ations of very short films as exemplified by the production of thirty- eight Mini-Documentaries for the Aspen Movie Map Project. The films are included on videotape. / by Marek Zalewski. / M.S.V.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / Making an unscripted documentary (cinema verite) film is a kind of exploration into uncharted territory. It was my experience in making "Marv Cutler and the Little Prince of Rock" that preconceptions in shooting a scene were rarely realized. The footage returned by the lab, having been shot by me in a state of instant surprise, often had a puzzle quality which would then be reworked into a logical scene which was usually a restructuring, rather than a reporting of the event. Thus the film acquired a shape molded by feasibility, logistics, and accessibility in shooting. Conclusions are avoided; I strive instead for evocative scenes which suggest the complexity of real life. / by Carolyn Swartz. / M.S.V.S.

In this research dissertation I argue that Pieter Hugo's body of work titled Rwanda 2004: Vestiges of a genocide (2004) can be read according to notions of the sublime, in particular those of terror and the unpresentable. I begin in chapter one by tracing within the discourse of the sublime themes of terror and the manner in which certain sociopolitical events can be understood as sublime instances of terror. The essentially unpresentable nature of such occurrences is another important concern. As my focus is on the aesthetic produce of a visual artist in regards to such sublime notions, I make reference to various other relevant artworks and appropriate art theory. In chapter two I argue the case for the Rwandan Genocide as a sublime political event, an instance of incommensurable terror. In an examination of Hugo's Rwanda 2004: Vestiges of a genocide I outline the manner in which his work, as an aestheticization of such terror, thus embodies notions of the sublime. Via the facilitated experience of witness, I note the manner in which the art spectator, in response to such work, experiences something of the shock and horror associated with the sublime. As a contemporary artist, engaging with genocide in Rwanda, I am careful to posit Hugo's work within the appropriate context of the postcolonial, as well as (in regards to sublime theory) the postmodern. Chapter three examines a personal body of work, Murder on 7th (2009) – an investigation into the neurosis generated by the pervasive influence of violent crime in South Africa. Having already argued the case for the sublime political event, I propose for consideration certain social disorders like violent crime, as well as HIV/Aids, as social incursions capable of precipitating the sublimity of terror

The friction between fact and official fiction appears to be a critical factor in all our lives. Bearing artistic witness to contemporary geo political life necessitates the utilisation of the technologies that are deployed at us, as a mirror to deflect and reflect upon the ideologically mediated strikes carried out against us. I have digitally manipulated documentary photography at the microscopic level and reworked the evidence in a manner that remains undetectable. The documentary information digitised the matrices of data as if at a genetic level, causing simulation of the real. This manipulation of the photographic document is seen to critique our contemporary condition where official fictions can now be represented as historic fact. This work challenges the integrity of vision and the nature of evidence by producing fictional documentation at a high resolution, which gives the illusion and authority of a photographic non-fictional representation. From within my studio-based research, what is and will be possible, how a history is recorded and represented, has been interrogated, by using one form of evidence — in this case, the photograph. Artistic works developed throughout the DCA examined the way a visual history is recorded and in this case, photographically represented. Appreciating the ideology of territory was seen as critical, particularly within an international agenda. Territory was established as a site for research. A territorial containment methodology was established. The territorial containment methodology was to simply designate a physical territory and then produce works from within this designated space. The containment methodology started with 18th century Botany Bay moved around to the next bay Little Bay and forward in time to 1969 and the contemporary artists the Christo’s wrapping of the space. Employing the same methodology the research moved into the Australian Western desert then off island to the Middle East. The collective outcomes of the research are represented by solo and group exhibitions and related publications, all of which are recorded within this document. / Doctor of Creative Arts (DCA)