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Ce mémoire de recherche-création en deux parties - une création et un texte—porte sur les nouvelles formes du documentaire. La création, intitulée Memoria 2020 : lorsque les souvenirs ne suffisent plus est un essai expérimental qui prend la forme d'une installation vidéo à trois canaux sur trois écrans distincts composée d'images documentaire , d'images mises en scène, de photographies et d'archives, et explore la frontière entre le réel et la fiction, le documentaire et la fiction, la mémoire et l’imaginaire, à travers le souvenir de moments disparates vécus au sein de la communauté des Mardi Gras Indians de la Nouvelle-Orléans racontés par Queen Shanu, une Mardi Gras Indian Queen ayant vécu toute sa vie à la Nouvelle-Orléans. Le texte analyse les problématiques générales du formalisme filmique, du cinéma élargi, du déploiement du récit dans l’espace physique et de l'expérience publique des images en mouvement. Il s’interroge également sur deux approches opposées qui remettent en question l’essence même du film documentaire, soit l’approche ethnographique du documentaire, opposée à l’approche auto-ethnographique privilégiant l’expression subjective et artistique du sujet étudié. Ce projet de recherche-création invite le spectateur à découvrir la Nouvelle-Orléans et plus particulièrement la communauté des Mardis Gras Indians, une communauté dont l'histoire et l'héritage occupe une place particulière dans l'histoire de la Louisiane et des États-Unis d'Amérique. Il invite à réfléchir à la question de la représentation et de la construction identitaire d'une communauté mais aussi aux dynamiques raciales dans une Amérique post-ségrégation. / This research-creation thesis in two parts – a creation and a text – focuses on new forms of documentary. The creation, entitled Memoria 2020: when memories are no longer enough is an experimental essay which takes the form of a three-channel video installation on three separate screens composed of documentary images, staged images, photographs and archives, and explores the border between reality and fiction, documentary and fiction, memory and imagination, through the memory of disparate moments experienced within the community of Mardi Gras Indians of New Orleans told by Queen Shanu, a Mardi Gras Indian Queen who has lived in New Orleans her entire life. The text analyzes the general issues of film formalism, expanded cinema, the deployment of narrative in physical space and the public experience of moving images. It also questions two opposing approaches which call into question the very essence of documentary film, namely the ethnographic approach to documentary, opposed to the auto-ethnographic approach favoring the subjective and artistic expression of the subject studied. This research-creation project invites the viewer to discover New Orleans and more particularly the community of Mardis Gras Indians, a community whose history and heritage occupies a special place in the history of Louisiana and the United States of America. It invites us to think about the question of representation and the construction of community identity but also about racial dynamics in a post-segregation America.

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Doctor of Philosophy / Department of Family Studies and Human Services / Karen S. Myers-Bowman / The purpose of this study was to conduct a phenomenological inquiry into the impact HIV/AIDS-related stigma has on People Living with HIV/AIDS (PLHA) and their family members in Ghana and the overall relationship family members have with PLHA. The study explored the concept of stigma in the Ghanaian context, ways in which it is expressed, factors influencing HIV- related stigma and its consequences on both PLHA and their family members. Strategies that PLHA and their family members consider for effective HIV- related stigma prevention were also explored. The study further explored some of the gender- biased nature of HIV- related stigma in Ghana. Data was gathered qualitatively through interviews with five PLHA and their discordant family members. Interviews were transcribed and translated into English, coded and analyzed. After inductively establishing themes and categories, final confirmatory analysis was deductively established, by using the Bronfenbrenner’s ecological model and Symbolic interaction theory to affirm the authenticity and appropriateness of the inductive content analysis. The study found that HIV- related stigma begins with serostatus disclosure. Stigma is manifested in myriad contexts including the family, community, healthcare institutions and gender. The major factors influencing stigma are insufficient knowledge of HIV transmission, fear and misconception of HIV created by the media, cultural and religious factors as well as poverty. Family members experienced similar stigma as PLHA, such as loss of jobs, loss of social network, loss of identity and self stigma. However extreme impacts such as suicidal thoughts were only experienced by PLHA. The impact of HIV- related stigma is worst for women because of beliefs and values relating to gender- role expectations. While women accept and support their husbands when they have HIV/AIDS, women are often neglected and abandoned by their husbands. To address this stigma, participants suggested house to house education, financial support from the government, revision of educational content especially discontinuation of negative images of HIV/AIDS used by the media. Implications for this study in the areas of research, practice and policy are provided.

Les théoriciens de la voix cinématographique, tels Michel Chion, Rick Altman, Mary Ann Doane et Kaja Silverman, évitent une réflexion sur l’expression des rapports de sexe en relation avec l’appartenance raciale ou la question postcoloniale. Au contraire, l’afro-américaine Julie Dash et la vietnamo-américaine Trinh T. Minh-ha se servent de la « caméra-stylo » afin de déconstruire le paradigme dominant de la voix selon lequel l’image serait source de la voix. Les films, Illusions et Daughters of the Dust de Dash, et Reassemblage, Naked Spaces et Surname Viet Given Name Nam de Trinh, désignent l’épistémologie comme un enjeu : les hommes blancs se servent de ce levier que constitue la fabrique de la voix pour investir le lieu du savoir. Ce faisant, ces deux cinéastes contemporaines élaborent un paradigme féministe. La voix masculine transcendante est remplacée par la voix immanente et polyphonique des femmes de couleur. Dash expose les techniques cinématographiques vocales et pratique un montage qui établit une vraisemblance avec la réalité. Nous sommes enveloppés par les voix de ses personnages. Trinh nous fait comprendre « l’architecture » du langage vocal cinématographique et opère un montage qui suspend la continuité. Elle nous incite à en découdre avec des éléments disparates. À travers certains procédés (voix synchronisée/voix désynchronisée par exemple), les femmes portent témoignage de la violence des hommes. Elles révèlent que la justice de la loi du Père est aussi illusoire que la voix cinématographique. D’objet épistémologique, la voix des femmes de couleur devient outil politique : elle détient la promesse de changer les mentalités et de fait, les lois de la cité. / The theoreticians of the cinematic voice, such as Michel Chion, Mary Ann Doane and Kaja Silverman, do not address vocal representation as an issue of gender and its relationship to race and postcolonialism. To the contrary, two contemporary filmmakers, Julie Dash and Trinh T. Minh-ha, use their “caméra-stylo” to deconstruct the dominant paradigm of the voice which has spectators believe that the image is at the source of the voices they hear. The films, Illusions and Daughters of the Dust by Dash, and Reassemblage, Naked Spaces and Surname Viet Given Name Nam by Trinh, show us how the cinematic voice is a construction. The stakes are high: white men use this vocal illusion as a lever to impose control over the world of epistemology. As an alternative, Dash and Trinh propose a feminist paradigm. The transcendent masculine voice is replaced by the immanent and polyphonic voices of women of color. Dash reveals the cinematic techniques of vocal reproduction, and she practices a classical editing that reaches for fidelity. The voices of her characters envelope the spectators. Trinh brings to the screen an understanding of the “architecture” of cinematic language, and her editing techniques suspend continuity. The spectator’s own voice must continually intervene in the construction of meaning. Through various techniques (synchronized/a-synchronized voice), the women characters come forward to witness the violence of men. Their stories reveal that the justice of the Law of the Father is as much an illusion as the cinematic voice. Women of color therefore take up the voice as a political tool: it holds the promise of changing mentalities and, in turn, the laws of city.

This study explores the relationship between Black police officers, Black citizens, and their external environment using a group of 30 police officers and citizens to establish the connection between police officer race and perceptions by same race citizens within the context of police use of force. I use the term Black to be inclusive of African Americans as well as others of African descent without regard to their ethnicity or national origin. Criminal justice means system application whereas criminology is the study of criminal behavior. In America, there exists a history of volatility between the police and Black communities. While I recognize that many Blacks may have no direct interaction with police, in order to facilitate this research, I rely on a well-known and controversial topic, which is the use of police force within Black communities. The participants involved in the study are employees of one of three large municipal police agencies or enrolled in an institution of higher education within a southwestern state. All participants self-identify as Black or African American. I employ qualitative methods by incorporating in-depth interviews in my research approach. At the conclusion of the study, the two groups’ perception about race, police use of force, and policing are compared, using common themes to develop a shared phenomenon of what it means to be a Black police officer and the Black officer’s relationship with the Black community. I suggest that because Black police officers experience a racial/professional dynamic; their twin identification causes them to believe that the Black community and non-Black officers question their racial and professional loyalty. I also suggest that the perception of Black police officers and Black citizens and the degree of support they enjoy or lack within their respective departments and communities affects their disposition regarding race and policing. Typically, researchers treat police as a homogenous racial group. This study is important because Black officers are neglected within the literature on police use of force and Black citizens are seldom asked about citizen-police relations involving Black officers. In addition, this project examines how the roles of professional and racial subcultures influence perceptions.

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