This paper explores the way that “truth” is constructed in a fictional sphere through visual and narrative references. I draw upon Caetlin Benson-Allott’s Paranormal Spectatorship, and Jay David Bolter and Richard Grusin’s Remediation to inform my analysis of these constructions. I look specifically at Roanoke, the sixth season of American Horror Story, to provide examples of the way faux footage horror’s unique use of the subjective shot constructs the spectator as both a witness and an interrogator, and creates an aesthetic language of truth. While being immersed in the story, viewers are simultaneously invited to consider how the narrative is being constructed, and by whom. This parallactic viewing experience suggests a future for the unique challenge of serialized televisual horror.

The game of rugby has been played for over a century and yet its intricacies are still not fully understood. The key ingredient coaches are seeking is what can be added to a team’s make-up that will result in an increase in that teams level of playing success. The objective of this study is the exploration of the biomechanical aspects of movement in a rugby context specifically looking at the stages before, during and after contact. The hypothesis is that the optimal use of running lines in rugby union will lead to more successful breaches in the opposition’s defensive lines thus an increase in linebreaks will occur. In order to make a comparison based on scientific research principles, nine matches played during the 2001 season was compared with nine matches played during the 2002 season. For each match played in the 2001 and 2002 seasons the total number of linebreaks achieved in a match was calculated. In addition the total number of linebreaks achieved in the 2002 season was further subdivided into the specific categories of intervention in order to determine which intervention had the biggest impact on the total number of linebreaks achieved. By means of video footage of the matches played notational analysis was performed and information was gathered in order to gain data for further evaluation. The actions regarding the execution of the linebreaks were evaluated manually in respect of the intervention that was imposed during the coaching of the team during the 2002 season. Without exception a comparison between similar teams played during both seasons indicated that the total number of linebreaks achieved during the 2002 season was much higher than when the team competed against similar opposition during the 2001 season. The aggregate numbers indicated a significant increase in linebreaks from the 2001 to 2002 season. This conclusion was achieved by means of a simple T-test. Firstly an applied F-test test was done to determine whether the two samples had equal variances or not. Under the null hypothesis we assume that the variances of the two samples are equal, while the alternative states that the two samples have different variances. A value for the test statistic that is greater than the critical value will lead to a rejection of the null hypothesis. The test statistic was calculated and evaluated against the F (8,8) = 2.59 critical value on a 5% level of significance. The value of 15.921 is greater than the critical value of 2.95 and therefore the null hypothesis cannot be accepted, concluding that the two samples do not have equal variances. We then proceeded to test whether the 2002 average linebreaks are significantly higher than the average linebreaks achieved in the 2001 season. Under the null hypothesis the two sample averages are equal. Under the alternative, the 2002 average is higher than the 2001 average. In contrast to normal T-tests this specific test was a one-sided upper or right hand test due to the fact that we are testing whether the one average is greater and not equal to the other. Therefore, we would only reject the null hypothesis of equal sample averages if the test statistic were greater than the appropriate critical value. The calculated test statistic is 4.4827 and was evaluated against the t 0.05,9 = 1.833 critical value. Once again we cannot accept the null hypothesis. Therefore we can conclude that the average of the total linebreaks made during the 2002 season is statistically greater than the average of the total linebreaks made during the 2001 season. The results of this study therefore indicate that the new techniques incorporated into the coaching of the team in 2002 did positively influence the number of linebreaks when compared to the 2001 season. / Dissertation (MA (Human Movement Science))--University of Pretoria, 2005. / Biokinetics, Sport and Leisure Sciences / unrestricted

The goal of this study is to gain a better understanding of the factors that play a role in dominant collisions in rugby as well as the relative significance of dominant collisions as an indicator of success. By means of video footage of matches played during the 2003-2005 Super 12 competitions, notational analysis was performed and information was gathered in order to gain the relative data. The hypothesis stands that if a team is aware of the factors that lead to a dominant collision, are able to execute them in a match situation, that team should be more successful. The following key performance measurements were evaluated in order to indicate how each factor affected the level of success of a team. They are as follows: average total number of collisions for a try to be scored, average total number of forced missed tackles for a try to be scored, ratio of dominant collisions versus passes executed when a try is scored and average positive velocity change of dominant collisions resulting in a try being scored. In order to prove the hypotheses a k-sample case will be used. The samples are related, thus the data used is interval and ratio. Therefore, the test used will be the repeated measures ANOVA test, a special form of n-way analysis of variance. The statistical evaluation is the critical test value where the d.f values are as following: Key Measurement (3,8), Year Rating (2,8), Year Rating by Key Measurement (3,8). When comparing these with a statistical table for critical values of the F distribution for Ą = 0.05, the critical values are as following: (3,8): 4.07, (2,8): 4.46, and (3,8): 4.07. Thus, the statistical results are grounds for accepting all three null hypotheses and concluding that there is a statistical significance of at least 95% with an alpha of 0.05 between the means in all three instances. This shows that the data captured for the twelve teams for all tries scored by these teams over a period of three years and for the four key measurements, have a statistical significance of 95% for the readings respectively. After evaluation of the data and making use of regression analysis and multiple regressions in order to establish the correlation between log position and the four key measurements there can be no doubt that the teams that finished higher on the log did indeed perform better according to the identified key performance measurements. / Thesis (DPhil (Human Movement Science))--University of Pretoria, 2006. / Biokinetics, Sport and Leisure Sciences / unrestricted

La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d’archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s’agit d’abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l’histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d’une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s’oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l’analytique, étant au-delà et en deçà d’une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l’institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d’un patrimoine cinématographique. / The research examines the promotion of film archives from the Netherlands Filmmuseum [NFM] through Peter Delpeut’s compilation work. These ten films [1989-1999] are between two directions that are not always in compatibility, on one side an artistic cinematic search and on the other side the archivist’s will of giving access to silent films [1895-1931] that are in fragments, in colour and with a sound creation. Using audiovisual, written and oral sources, the first interest is to focus on whether how the NFM comes to produce these compilations for promoting its collections, lining out the history of this film archive and following Delpeut’s career, to understand the meeting between a man with great experience as researcher, critic and filmmaker and an institution challenging its philosophy during the 1990’s. The research then examines the process of filmmaking itself and functioning of this compilation work to show that there is a tension between sensorial and analytical terms, over the borderline of a strict promotion of NFM’s silent films. The last part explores the utilisation of these compilations, the way they are related to Museum’s programming politics, how they affect this institution and Delpeut’s dynamics, beyond the film archive, each time evaluating the contributions and limitations for the transmission of silent cinema heritage

Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.

Ce travail se pose pour objectif de démontrer la coïncidence de deux phénomènes, l'écriture subjective et le found footage film, tout en articulant des approches différentes autour des problèmes de l'autoportrait et de l'écriture subjective au cinéma, de la représentation de l'identité de genre, de l'histoire et de la critique du film d'avant-garde. Le rapprochement des notions de réécriture filmique (Marie-Claire Ropars) et d'entre-images (Raymond Bellour) conduit d'abord à la problématisation d'une question centrale concernant la pratique de l'autoportrait : le rapport de ressemblance entre le référent et l'objet de la représentation. L'analyse de films de remploi, réalisés dans le cadre de la production cinématographique féminine à partir des années quatre-vingt, articule ultérieurement la réflexion au vu des débats occasionnés autour de la valeur du remploi artistique du film d'archive – entendu en tant qu'outil de ré-évaluation générale du cinéma comme dispositif (Christa Blümlinger) – aussi bien que de la répétition (Judith Butler) entendue en tant que stratégie pour dévoiler et mettre en discussion les mécaniques sous-jacents à la représentation de l'identité de genre. En valorisant la nature physique et matérielle des travaux analysées et en prenant en considération le contexte bio-politique de la réflexion post et trans-féministe, cette thèse vise enfin à définir le corps comme support et modèle d'une « micro-politique du soi » dont la réécriture se ferait instrument spécifique dans la détermination d'une subjectivité à la fois intermédiaire et inter-médiale, associée par un lien charnel aux technologies mais, dans le même temps, libre de la « chair » de l'image. / This work aims to study the coincidence between two phenomenons, subjective writing and found footage film, articulating different approaches around themes as filmic self-portrait and subjective writing, gender identity representation, the history and the critique of avant-garde film. Through the link between the notions of réécriture filmique (Marie-Claire Ropars) and entre-images (Raymond Bellour), this thesis problematise one of the main topic of self-portraiture practice: the resemblance bond between the referent and the object of representation. The analysis of “second hand” films – realized in the frame of woman's avant-garde cinema since the eighties – allowed me to articulate this theoretical reflexion in the light of recent debates around found footage film. Following the researches of Christa Blümlinger, I focused notably on the practice of reusing archive films as a form of analysis, critic, and reevaluation of cinema as a dispositif. Secondly, according to Judith Butler, I interpreted repetition as a strategy to discuss and dismantling the underlying mechanisms of gender identity representations. Finally, putting a specific emphasis on the physical and material nature of the work analysed, I highlighted a precise relationship between the material body of the filmic archive and the natural body of the artists. In this sense, the bio-political context of post and trans-feminist self-representation practices permitted me to conceive the natural body as both a surface and a medium of rewriting, shaping and determining an intermediate subjectivity which is linked “fleshly” to technologies as well as it is “freed” from the flesh of the image.

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg, 2015 / This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa

A dissertação investiga possibilidades formais de articulação entre universos pessoais e processos históricos no campo da realização documentária em primeira pessoa. O ponto de partida são materiais e procedimentos advindos de um documentário de longa-metragem que atualmente desenvolvo, intitulado Bem vindos de novo. O filme aborda as experiências da minha família na imigração de nipo-brasileiros para o Japão, conhecida como \"fenômeno decasségui\". Nele, busco articular as experiências pessoais e familiares com aspectos mais amplos desse acontecimento histórico e social, de proporções internacionais, que atingiu, e continua afetando diretamente, cerca de 600 mil pessoas. Abordo três procedimentos formais empregados no filme: (1) a utilização de fotografias domésticas; (2) a elaboração da narração em voz over; (3) o emprego de filmagens históricas realizadas por Hikoma Udihara, colonizador e cinegrafista pioneiro da imigração japonesa no Brasil. Através do mapeamento de possibilidades formais relacionadas aos procedimentos em questão, busco identificar e analisar um conjunto de conceitos, de instrumentos críticos e teóricos, úteis para se pensar a articulação entre o íntimo e o histórico, o pessoal e o social, em documentários na primeira pessoa; em diálogo constante com aspectos concretos da realização cinematográfica. / This master\'s thesis investigates formal possibilities of articulation between personal universes and historical processes inside the first person filmmaking practice. The bases are materials and procedures related to a feature documentary film that I am now developing, called Welcome Back, Farewell (Bem vindos de novo). The film addresses my family experiences in immigration of Japanese-Brazilians to Japan, known as \"dekassegui phenomenon\". In the film, I try to articulate personal and familiar experiences with wider features of this historical and social event of international proportion, which reached, and still concerns directly to six hundreds thousand people. Three formal procedures of the film are covered: (1) the use of domestic photography; (2) the elaboration of the voice over narration; (3) the usage of historical footage produced by Hikoma Udihara, colonizer and pioneer amateur filmmaker of the Japanese immigration in Brazil. Through the organization of formal possibilities related with the previous procedures, the aim is to identify and analyze a group of concepts, of critical and theoretical devices, useful to think the articulation between the intimate and the historical, the personal and the social, within the first person documentary; in frequent contact with concrete features of the filmmaking practice.

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Made available in DSpace on 2016-06-02T20:23:13Z (GMT). No. of bitstreams: 1 4661.pdf: 1097916 bytes, checksum: c482bfce0e9225af830987ef6b3c8cac (MD5) Previous issue date: 2012-05-08 / A conceptual overview about documentaries made from archival footage, named foundfootage films. The main reference for the analysis of cinematographic production for the period prior to the year 1960 is the book Films Beget Films, published in 1964 by the American researcher Jay Leyda. This essay seeks to complement the research of Jay Leyda addressing aspects of the biography and work of American filmmaker Emile De Antonio, pointing out the relevance of your audiovisual production in the field of documentary from the use of archival material. The documentary In The Year of the Pig (1968) and his fragmentary, enigmatic and somewhat didatic historical narrative, are subjected to analysis. The goal of this study is an approximation of the De Antonio`s narrative with the concept of historical allegory in the film, according to Brazilian researcher Xavier, based on the ideas of Walter Benjamin on modernity and the role of allegory in the process of reinterpreting history and culture. / Um panorama conceitual sobre filmes documentais realizados a partir de images de arquivo, os chamados found-footage films. A principal referência para análise da produção cinematográfica do período anterior aos anos 1960 é o livro Films Beget Films, publicado em 1964, pelo pesquisador norte-americano Jay Leyda. Esta dissertação procura complementar a pesquisa de Jay Leyda com uma abordagem sobre aspectos da biografia e da obra do cineasta norte-americano Emile De Antonio, evidenciando a relevância de sua produção audiovisual no campo do documentário, a partir da utilização de materiais de arquivo. O documentário In The Year of The Pig (1968) - sua narrativa histórica fragmentária, enigmática e pouco didática - é submetido à análise. O objetivo desta pesquisa é uma aproximação das características narrativas de De Antonio com o conceito de alegoria histórica no cinema, segundo o pesquisador brasileiro Ismail Xavier, com base nas ideias de Walter Benjamin sobre a modernidade e o papel da alegoria dentro do processo de reinterpretação histórica e cultural.