Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.

[pt] Esta tese realiza análise crítica da Getty Images a fim de compreender atualizações de procedimentos de vigilância e controle perpetrados no campo da publicidade. Parte-se da arqueologia das mídias em busca por especificidades do banco de dados audiovisual para compreender protocolos próprios do ambiente virtual organizados a partir da lógica da invisibilidade. Através da análise semiótica de cinco filmes publicitários produzidos para marca pela agência publicitária brasileira, AlmapBBDO, é possível identificar de forma mais aprofundada estratégias de comunicação de valores e princípios da Getty Images. Em consonância com técnicas de montagem, diálogo com linguagem fragmentada e a partir da reapropriação de conteúdo audiovisual são produzidos pequenos vídeos-ensaios que visam revisitar e explorar paradigmas da imagem, bem como contribuir na reflexão do potencial latente dos bancos de dados audiovisual. Concomitantemente, é apresentada a perspectiva de construção criativa de monstros como estratégia publicitária cada vez mais recorrente como etapa da produção audiovisual. Além disso, é desenvolvida uma aproximação entre técnicas cinematográficas e publicitárias que busca sublinhar hibridismos e possíveis interconexões entre as duas áreas. Por fim, são apresentados exemplos que apontam possíveis utilizações da publicidade como forma de resistência e promotora de reflexão crítica diante de conjunturas norteadas por preceitos exclusivamente capitalistas. / [en] This thesis conducts a critical analysis of Getty Images to understand updates to surveillance and control procedures carried out in the field of advertising. It starts from the media archeology in search of specificities of the audiovisual database to understand protocols proper to the virtual environment that are often organized based on the logic of invisibility. Through the semiotic analysis of five advertising films produced for the brand by the Brazilian advertising agency, AlmapBBDO, it is possible to identify in more depth strategies for communicating Getty Images values and principles. In line with montage techniques, dialogue with fragmented language and from the re-appropriation of audiovisual content, small video-essays are produced that aim to revisit and explore paradigms of the image, as well as contribute to the reflection of the latent potential of audiovisual databases. Concomitantly, the prospect of creative construction of monsters is presented as an increasingly recurring advertising strategy as a stage of audiovisual production. Also, an approach is developed between cinematographic and advertising techniques that seeks to underline hybridism and possible interconnections between the two areas. Finally, examples are presented that point to potential uses of advertising as a form of resistance and to promote critical reflection in front of circumstances exclusively guided by capitalist precepts.

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[pt] A pesquisa parte do encontro entre cinema e cidade, utilizando Copacabana como estudo de caso para compreender as contribuições da linguagem cinematográfica para a análise urbana. A leitura da cidade, complexa e contraditória, muitas vezes é simplificada por métodos de análise funcionalista. Assim, esta pesquisa busca atribuir novos significados aos materiais fílmicos, conferindo-lhes o status de arquivo e utilizando-os como fontes de análise para refletir como o cinema influencia as percepções sobre a cidade e revela as dinâmicas do espaço construído. Ao analisar uma filmografia de Copacabana, é possível identificar os apartamentos conjugados como estruturas visuais que se repetem no imaginário dessa localidade, não apenas como cenários, mas como personagens com suas próprias narrativas. Portanto, a partir das obras cinematográficas a partir das obras cinematográficas Tati, a garota (1973) e Amor Bandido (1979) de Bruno Barreto, Vai Trabalhar Vagabundo (1973) de Hugo Carvana, Edifício Master (2002) de Eduardo Coutinho e Galeria Alaska (1979) de José Joffily, todas ambientadas nos apartamentos conjugados de Copacabana, busca-se captar lampejos visuais que conduzam a uma leitura polifônica do bairro. Por meio de um processo de montagem-desmontagem-remontagem, entrelaçam-se narrativas fílmicas e arquivos de diversas origens, explorando questões que surgem do choque das variadas visões de Copacabana. / [en] The research begins with the intersection between cinema and the city, using Copacabana as a case study to understand the contributions of cinematographic language to urban analysis. Functionalist analysis methods often simplify the complex and contradictory perception of the city. Therefore, this research aims to attribute new meanings to film materials, giving them the status of archives: using the film material as a source of analysis to reflect on how cinema influences the city s image, as well as, reveal the built environment dynamics. When analyzing the filmography of Copacabana, it is possible to identify the conjugados apartments as visual structures that repeat in the imagination of this neighborhood, not only as scenarios but as characters with their narratives. Therefore, from the cinematographic works Tati, a garota (1973) and Amor Bandido (1979) by Bruno Barreto, Vai Trabalhar, Vagabundo (1973) by Hugo Carvana, Edifício Master (2002) by Eduardo Coutinho, and Galeria Alaska (1979) by José Joffily, all set in the conjugados apartments of Copacabana, the aim is to capture visual flashes that lead to a polyphonic reading of the neighborhood. Through a process of montage-disassembly-reassembly, film narratives and archives from various sources are interwoven, exploring issues that arise from the clash of diverse visions of Copacabana.

Ce texte présente mes principales avancées de recherche et de création à la maîtrise en arts visuels. C'est à partir d'un long travail en atelier, répétitif et méticuleux, de découpes de personnages dans des livres d'histoire, que se sont élaborées mes expérimentations et mes réflexions sur l'histoire et sa malléabilité. Dans ma recherche, j'ai considéré les images de livres comme des archives populaires de l'ère photographique. Par l'entremise de stratégies telles que l'appropriation, le détournement, le montage, l'accumulation, la copie et l'installation, je tente de leur redonner une nouvelle vie. Ce texte accompagne mon exposition de fin de maîtrise qui sera présentée en septembre 2022 à l'Université Laval.

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire. / Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre-established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films.

Bien que son existence soit presque aussi vieille que le cinéma, l‘écran fragmenté (que les académiciens et autres professionnels du cinéma de langue anglaise désignent communément sous l‘appellation « split screen ») n‘a jamais fait l‘objet d‘analyses véritablement approfondies. Quand il est mentionné dans les livres d‘histoire, l‘écran fragmenté est rapidement esquivé. Pourtant, ses apparitions sont nombreuses. Ce mémoire de maîtrise cherche à corriger nombre d‘idées préétablies en exposant l‘histoire de cette manifestation visuelle, en commençant des débuts (le « cinéma des premiers temps ») jusqu‘à l‘arrivée du « cinéma numérique » du nouveau millénaire. / Despite the fact its existence is almost as old as cinema itself, the fragmented screen (commonly known as « split screen » in the academic and professional world of the seventh art) has never been the object of serious and exhaustive analysis. When mentioned in history books, the fragmented screen is quickly eluded. And yet its appearances are numerous. This Master thesis aims at rectifying a number of pre-established ideas by exposing the history behind this visual manifestation, from early cinema to the arrival of digital films.

Text in English with abstracts and keywords in English, Afrikaans and Sesotho / This was a practice-led study, in which I critically engaged with my own video artwork alongside the video works of three other artists. Selected works of Penny Siopis, Anders Weberg, Maja Zack and mine deal with the notions of memory and trauma. I investigated which visual strategies and techniques derived from film theory are employed in video art to simulate traumatic memories from war conflicts. This research analysed specific theories of Gilles Deleuze and Sergei Eisenstein to identify how certain film strategies are used in video art to simulate grievous historical events. I explored the way that these events shape postmemory, as theorised by Marianne Hirsch and Cathy Caruth. The theories of Susan Sontag and Jean Baudrillard describe how memory relies on imaginative investment and interpretation, creating a simulation of the past, in which affect takes precedence over accurate and factual portrayal of traumatic events. / Hierdie studie was ’n praktykgeleide studie waartydens ek my eie videokunswerk tesame met diè van drie ander kunstenaars krities ondersoek het. Gekose werke uit my eie stal, diè van Penny Siopis, Anders Weberg en Maja Zack handel oor die begrippe herinnering en trauma. Ek het ondersoek ingestel na die visuele strategieë en tegnieke voortspruitend uit filmteorie wat in videokuns aangewend word om traumatiese herinneringe van oorlogkonflikte te simuleer. Hierdie navorsing het die spesifieke teorieë van Gilles Deleuze en Sergei Eisenstein ontleed ten einde te identifiseer hoe bepaalde filmstrategieë in videokuns gebruik word om smartlike historiese gebeure te simuleer. Ek het die wyse nagevors waarop hierdie gebeure post-herinneringe modelleer, soos deur Marianne Hirsch en Cathy Caruth geteoretiseer. Die teorieë van Susan Sontag en Jean Baudrillard beskryf hoedat herinneringe op verbeeldingryke belegging en interpretasie steun om ’n simulasie van die verlede te skep waarin affek voorkeur kry bo die akkurate en feitelike voorstelling van traumatiese gebeure. / Seno e ne e le thutopatlisiso e e eteletsweng pele ke tiragatso, moo ke dirisaneng ka tshekatsheko le tiro ya me ya botsweretshi jwa bidio ke e bapisitse le ditiro tsa bidio tsa batsweretshi ba bangwe ba le bararo. Ditiro tse di tlhophilweng tsa ga Penny Siopis, Anders Weberg, Maja Zack le tsa me di samagana le dintlha tsa kgopolo le manokonoko. Ke sekasekile gore go dirisitswe ditogamaano le dithekenini dife tsa pono tse di tswang mo tioring ya difilimi mo botsweretshing jwa bidio go etsisa dikgopolo tsa manokonoko a dikgotlhang tsa ntwa. Patlisiso eno e lokolotse ditiori tse di rileng tsa ga Gilles Deleuze le Sergei Eisenstein go supa ka moo ditogamaano dingwe tsa filimi di dirisiwang ka gona mo botsweretshing jwa bidio go etsisa ditiragalo tse di botlhoko tsa hisetori. Ke tlhotlhomisitse ka moo ditiragalo tseno di bopang segopotso sa morago go ya ka tiori ya Marianne Hirsch le Cathy Caruth. Ditiori tsa ga Susan Sontag le Jean Baudrillard di tlhalosa ka moo kgopolo e ikaegang ka peeletso ya ikakanyetso le thanolo ka gona, e etsisa dilo tsa maloba, moo e leng gore ditlamorago e nna tsona ditlapele go feta pontsho e e nepagetseng le ya nnete ya ditiragalo tse di bakileng manokonoko. / Art and Music / M.V.A.