In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.

Science fiction film has been telling stories about artificial anthropomorphic robots and androids for almost a hundred years, spawning films, such as Metropolis (1927), Ghost in the Shell (1951), and Blade Runner (1982). Each of these science-fiction films was complemented by a musical score that helped to create an onscreen world dominated by a dystopian view of the future. Influenced by the generations of prior science-fiction films, Automata (2014), The Machine (2013), and Ex Machina (2015) are all concerned with the same narrative in which humanity is in decline while artificial robots are rising up and experiencing life in a way that humans are no longer capable of doing. These three films were all chosen as exemplars of recent science- fiction films with stories about robots versus humans. Further, this difference between robots and humans is paralleled in the film's musical scores. Humans are represented by depressive musical themes with dull and cold timbres that symbolize how empty they have become. Robots, on the other hand, are represented by bright and lively timbres that symbolize how the robots are living more vibrant lives than humans. This thesis traces themes for humans and robots through several important moments and tropes in each film: the state of humanity, the first encounter with the robot, the quality of life for robots and humans, and the eventual conflict that erupts between artificial and organic life. This conflict ends with the arrival of a robotic Eve figure, a sole female robot that is set apart by the film score as a special being, the start of a new age that is dominated by robotic life. These films choose to portray female robots and promote the idea of Eve because the female is seen as a mysterious Other to be feared; in the same way, humans fear these female robots because of their Otherness. Analysis and conclusions were achieved through transcription of the film scores, interviews with the film composers, analysis connecting the score to the visual scene, and constructing a historical context that connects the three films to their predecessors. Future research can expand on these findings by adding more science fiction films to the film pool, examining just how far the musical difference between humans and robots can be traced in film. Unlocking the musical themes assigned to humans and examining how they change over time can reveal how humans perceive themselves, for better or worse. This study is also meant to serve as a gateway for more science fiction films to be studied through their music, as some film's have hidden meanings that can only be understood by examining the music and how it interacts with the visual scene. A study of Automata, The Machine, and Ex Machina manifests how humanity is making way for the robotic Eve and the next stage of evolution for the world.

The science fiction cinema is often concerned about future, and presents to its audience possible alternatives for it. Each science fiction film about the future constructs a different idea in the audience&rsquo / s mind and supports a currently existing ideology at the same time. The science fiction genre extrapolates and speculates about future which results in a new world: Aliens, androids or clones become participants of this world, intergalactic federations regulate diplomatic relationships or natural disasters endanger the whole humankind. The indispensable factor in every case is that new objects surround the future. They are extrapolated or speculated as well from the objects of today in order to fit to and satisfy the needs of the future world of the science fiction film. The ideas about the future presented in the film are supported by the material existence of these future objects. This study demonstrates the ideas and ideologies in respect to future in the science fiction cinema and investigates how the future objects contribute to constructing them.

Nesta dissertação, estudamos o encantamento das estéticas audiovisuais cinematográficas e publicitárias de Eliseo Subiela a fim de averiguar a ideia de realidade que elas ajudam a construir. Buscamos entender as propostas estéticas cinematográficas que se distanciaram dos realismos durante o período de redemocratização da Argentina, partindo do pressuposto de que esse distanciamento é resultado de uma aproximação entre os campos cinematográfico e publicitário. Consideramos inicialmente os conceitos de desencantamento e reencantamento do mundo para entender as diferenças de encantamento entre esses dois campos comunicacionais, recorrendo a Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos e Rudy Albino de Assunção. O contato com estudiosos do imaginário – como Gilbert Durand, Mircea Eliade e Carl Gustav Jung – veio para dissipar o antagonismo que permeava os dois conceitos sociológicos. A partir disso, adotamos o imaginário como heurística e optamos pelo uso do termo encantamento, entendendo que os seres humanos entram em contato com o mundo sempre através de imagens e que são incapazes de se desvencilhar da magia. Desenvolvemos uma reflexão sobre valores e tendências simbólicas que permeiam as imagens técnicas e os campos cinematográfico e publicitário. Para isso, mobilizamos teóricos das imagens – como Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting e Régis Debray; pesquisadores da publicidade geral e argentina – como Jean Baudrillard, Malena Contrera, Raúl Eguizábal e Orlando Aprile; e estudiosos do cinema geral e argentino – como Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria e José Luis Visconti. Inspiramo-nos na mitocrítica durandiana para elaborar um método de interpretação específico para o caso estudado. Interpretamos simbolicamente redundâncias percebidas num corpus de 30 comerciais e seis filmes de Subiela. Percebemos que a cinematografia subieliana mostra abertura ao universo simbólico, revelando aspectos da realidade concreta que fizeram emergir certos símbolos. Os comerciais desse realizador argentino, embora em muitos casos apresentem tendências simbólicas semelhantes a dos filmes, se mostram mais fechados ao imaginário, ocultando a origem dos símbolos e decepando sua multivalência. Aventamos que o retorno à realidade mítica através da cinematografia de Subiela pode se relacionar com a necessidade de encontrar um sentido depois do horror vivenciado durante os anos que antecederam a redemocratização. / In this dissertation, we study the enchantment of Eliseo Subiela‟s cinematographic and advertising audiovisual aesthetics in order to ascertain the idea of reality that they collaborate to build. We intend to understand cinematographic aesthetics proposals that move away from realisms in the period of re-democratization of Argentina, assuming that this distance was result of an approximation between cinematographic and advertising fields. We initially considered the concepts of disenchantment and re-enchantment of the world in order to understand enchantment differences between these communicational fields, resorting to Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos and Rudy Albino de Assunção. The contact with scholars of imaginary – such as Gilbert Durand, Mircea Eliade and Carl Gustav Jung – came to dispel the antagonism that permeated the two sociological concepts. From this, we adopt the imaginary as heuristic and we choose to use the term enchantment, understanding that humans always come into contact with the world through images and they are unable to get rid of magic. We develop a reflection on values and symbolic tendencies that permeate technical images and cinematographic and advertising fields. For this, we mobilized image theorists – such as Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting and Régis Debray; researchers of general and Argentine advertising – such as Jean Baudrillard, Malena Contrera, Raúl Eguizábal and Orlando Aprile; and scholars of general and Argentine cinema – such as Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria and José Luis Visconti. We draw inspiration from Durand's mythocritique to elaborate a method of interpretation specific to the case studied. We interpret symbolically perceived redundancies in a corpus of 30 commercials and six films directed by Subiela. We realize that Subiela‟s cinematography shows openness to symbolic universe, revealing aspects of concrete reality that have given rise to certain symbols. The commercials of this Argentine director, although in many cases they have similar symbolic tendencies to those of films, they are more closed to the imaginary, hiding the origin of symbols and cutting of its multivalence. We point out that return to mythic reality through Subiela's cinematography can be related to the need to find meaning after the horror experienced during the years leading up to re-democratization.

The study aimed to develop a theory describing the nature of the relationship between industrial design and science fiction, based on the observation that science fiction caninspire industrial designers and enrich industrial design processes and products. The hypotheses were that: 1. The roles of industrial design and science fiction are based on parallel ideas. 2. Industrial design is suffused with, and sympathetic to, science fiction thinking. 3. There is a ‘cause and effect’ relationship between aspects of industrial design and science fiction. Science fiction cinema is a key ‘cause and effect’. 4. Science fiction cinema performs a key function in the roles of science fiction, and cinema can be employed to explore and discuss the roles of industrial design and science fiction. The study used a range of research methods. An extensive literature review critically compared and analysed the characteristics and roles of science fiction and industrial design. The analysis identified contrasting and common themes, ideas, processes, texts and subtexts between the two areas. The findings were further analysed using graphic analytical tools, to form models that described and structured the industrial design/science fiction relationship. Three case studies were used to further test the model: the work of industrial designer and visual futurist Syd Mead; science fiction author Bruce Sterling; and the industrial design and production design content of selected science fiction films. Analysis of an Internet discussion among industrial designers also illuminated the model. The findings from the analysis and the case studies supported the validity of the original hypotheses. The study identified as the key elements of an emerging theory the parallel ideas of innovation in industrial design and novum (the new thing) in science fiction; the cause and effect relationship found between the two disciplines; the parallel concepts of mediation and responsibility in industrial design, and anticipation and interrogation in science fiction. The theory was presented as a graphic model that demonstrated these elements. This study concludes that science fiction challenges the design profession to produce better design by requiring that social, political, and technological contexts in which products will exist are explicitly understood and addressed. This is mapped out in an emerging theory that outlines a complex, multi-layered relationship between industrialdesign and science fiction. In industrial design terms, this emerging theory could be considered a prototype.

This thesis interrogates the interrelation between architecture and science fiction cinema to understand the fictional and representative power of architecture. Since cinema embraces both physical and representative aspects of architecture it is convenient to carry out the research through the mediation of cinema. To accomplish this goal science fiction genre is particularly chosen where architectural image can break its commonly acknowledged facet and can reconstruct to participate in the narrative. The architectural image is intended to be interpreted through the concept of city and architectural components in science fiction cinema. To create a mutual language, a world wide known city &amp / #8211 / New York City &amp / #8211 / is selected as the case study subject / that the research is developed upon. Initially the study is based on the discussion over cinema architecture relationship from an architect&amp / #8217 / s point of view. Subsequently architectural image in architecture and cinema is studied under several categories. Twenty four science fiction movies with various plots are chosen where all the movies are either located in New York City or in a fictional city inspired by it. By analyzing these movies through architectural concepts it is aimed to gain understanding to key points in architectural design.

Nesta dissertação, estudamos o encantamento das estéticas audiovisuais cinematográficas e publicitárias de Eliseo Subiela a fim de averiguar a ideia de realidade que elas ajudam a construir. Buscamos entender as propostas estéticas cinematográficas que se distanciaram dos realismos durante o período de redemocratização da Argentina, partindo do pressuposto de que esse distanciamento é resultado de uma aproximação entre os campos cinematográfico e publicitário. Consideramos inicialmente os conceitos de desencantamento e reencantamento do mundo para entender as diferenças de encantamento entre esses dois campos comunicacionais, recorrendo a Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos e Rudy Albino de Assunção. O contato com estudiosos do imaginário – como Gilbert Durand, Mircea Eliade e Carl Gustav Jung – veio para dissipar o antagonismo que permeava os dois conceitos sociológicos. A partir disso, adotamos o imaginário como heurística e optamos pelo uso do termo encantamento, entendendo que os seres humanos entram em contato com o mundo sempre através de imagens e que são incapazes de se desvencilhar da magia. Desenvolvemos uma reflexão sobre valores e tendências simbólicas que permeiam as imagens técnicas e os campos cinematográfico e publicitário. Para isso, mobilizamos teóricos das imagens – como Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting e Régis Debray; pesquisadores da publicidade geral e argentina – como Jean Baudrillard, Malena Contrera, Raúl Eguizábal e Orlando Aprile; e estudiosos do cinema geral e argentino – como Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria e José Luis Visconti. Inspiramo-nos na mitocrítica durandiana para elaborar um método de interpretação específico para o caso estudado. Interpretamos simbolicamente redundâncias percebidas num corpus de 30 comerciais e seis filmes de Subiela. Percebemos que a cinematografia subieliana mostra abertura ao universo simbólico, revelando aspectos da realidade concreta que fizeram emergir certos símbolos. Os comerciais desse realizador argentino, embora em muitos casos apresentem tendências simbólicas semelhantes a dos filmes, se mostram mais fechados ao imaginário, ocultando a origem dos símbolos e decepando sua multivalência. Aventamos que o retorno à realidade mítica através da cinematografia de Subiela pode se relacionar com a necessidade de encontrar um sentido depois do horror vivenciado durante os anos que antecederam a redemocratização. / In this dissertation, we study the enchantment of Eliseo Subiela‟s cinematographic and advertising audiovisual aesthetics in order to ascertain the idea of reality that they collaborate to build. We intend to understand cinematographic aesthetics proposals that move away from realisms in the period of re-democratization of Argentina, assuming that this distance was result of an approximation between cinematographic and advertising fields. We initially considered the concepts of disenchantment and re-enchantment of the world in order to understand enchantment differences between these communicational fields, resorting to Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos and Rudy Albino de Assunção. The contact with scholars of imaginary – such as Gilbert Durand, Mircea Eliade and Carl Gustav Jung – came to dispel the antagonism that permeated the two sociological concepts. From this, we adopt the imaginary as heuristic and we choose to use the term enchantment, understanding that humans always come into contact with the world through images and they are unable to get rid of magic. We develop a reflection on values and symbolic tendencies that permeate technical images and cinematographic and advertising fields. For this, we mobilized image theorists – such as Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting and Régis Debray; researchers of general and Argentine advertising – such as Jean Baudrillard, Malena Contrera, Raúl Eguizábal and Orlando Aprile; and scholars of general and Argentine cinema – such as Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria and José Luis Visconti. We draw inspiration from Durand's mythocritique to elaborate a method of interpretation specific to the case studied. We interpret symbolically perceived redundancies in a corpus of 30 commercials and six films directed by Subiela. We realize that Subiela‟s cinematography shows openness to symbolic universe, revealing aspects of concrete reality that have given rise to certain symbols. The commercials of this Argentine director, although in many cases they have similar symbolic tendencies to those of films, they are more closed to the imaginary, hiding the origin of symbols and cutting of its multivalence. We point out that return to mythic reality through Subiela's cinematography can be related to the need to find meaning after the horror experienced during the years leading up to re-democratization.

Nesta dissertação, estudamos o encantamento das estéticas audiovisuais cinematográficas e publicitárias de Eliseo Subiela a fim de averiguar a ideia de realidade que elas ajudam a construir. Buscamos entender as propostas estéticas cinematográficas que se distanciaram dos realismos durante o período de redemocratização da Argentina, partindo do pressuposto de que esse distanciamento é resultado de uma aproximação entre os campos cinematográfico e publicitário. Consideramos inicialmente os conceitos de desencantamento e reencantamento do mundo para entender as diferenças de encantamento entre esses dois campos comunicacionais, recorrendo a Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos e Rudy Albino de Assunção. O contato com estudiosos do imaginário – como Gilbert Durand, Mircea Eliade e Carl Gustav Jung – veio para dissipar o antagonismo que permeava os dois conceitos sociológicos. A partir disso, adotamos o imaginário como heurística e optamos pelo uso do termo encantamento, entendendo que os seres humanos entram em contato com o mundo sempre através de imagens e que são incapazes de se desvencilhar da magia. Desenvolvemos uma reflexão sobre valores e tendências simbólicas que permeiam as imagens técnicas e os campos cinematográfico e publicitário. Para isso, mobilizamos teóricos das imagens – como Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting e Régis Debray; pesquisadores da publicidade geral e argentina – como Jean Baudrillard, Malena Contrera, Raúl Eguizábal e Orlando Aprile; e estudiosos do cinema geral e argentino – como Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria e José Luis Visconti. Inspiramo-nos na mitocrítica durandiana para elaborar um método de interpretação específico para o caso estudado. Interpretamos simbolicamente redundâncias percebidas num corpus de 30 comerciais e seis filmes de Subiela. Percebemos que a cinematografia subieliana mostra abertura ao universo simbólico, revelando aspectos da realidade concreta que fizeram emergir certos símbolos. Os comerciais desse realizador argentino, embora em muitos casos apresentem tendências simbólicas semelhantes a dos filmes, se mostram mais fechados ao imaginário, ocultando a origem dos símbolos e decepando sua multivalência. Aventamos que o retorno à realidade mítica através da cinematografia de Subiela pode se relacionar com a necessidade de encontrar um sentido depois do horror vivenciado durante os anos que antecederam a redemocratização. / In this dissertation, we study the enchantment of Eliseo Subiela‟s cinematographic and advertising audiovisual aesthetics in order to ascertain the idea of reality that they collaborate to build. We intend to understand cinematographic aesthetics proposals that move away from realisms in the period of re-democratization of Argentina, assuming that this distance was result of an approximation between cinematographic and advertising fields. We initially considered the concepts of disenchantment and re-enchantment of the world in order to understand enchantment differences between these communicational fields, resorting to Max Weber, Antônio Flávio Pierucci, Wolfgang Schluchter, Jürgen Habermas, David Morgan, Jesus Martín-Barbero, Alkis Kontos and Rudy Albino de Assunção. The contact with scholars of imaginary – such as Gilbert Durand, Mircea Eliade and Carl Gustav Jung – came to dispel the antagonism that permeated the two sociological concepts. From this, we adopt the imaginary as heuristic and we choose to use the term enchantment, understanding that humans always come into contact with the world through images and they are unable to get rid of magic. We develop a reflection on values and symbolic tendencies that permeate technical images and cinematographic and advertising fields. For this, we mobilized image theorists – such as Vilém Flusser, Jacques Aumont, Arlindo Machado, Hans Belting and Régis Debray; researchers of general and Argentine advertising – such as Jean Baudrillard, Malena Contrera, Raúl Eguizábal and Orlando Aprile; and scholars of general and Argentine cinema – such as Jacques Aumont, Edgar Morin, Claudio España, Ricardo Manetti, Alberto Ciria and José Luis Visconti. We draw inspiration from Durand's mythocritique to elaborate a method of interpretation specific to the case studied. We interpret symbolically perceived redundancies in a corpus of 30 commercials and six films directed by Subiela. We realize that Subiela‟s cinematography shows openness to symbolic universe, revealing aspects of concrete reality that have given rise to certain symbols. The commercials of this Argentine director, although in many cases they have similar symbolic tendencies to those of films, they are more closed to the imaginary, hiding the origin of symbols and cutting of its multivalence. We point out that return to mythic reality through Subiela's cinematography can be related to the need to find meaning after the horror experienced during the years leading up to re-democratization.

[ES] La presente Tesis aborda el cine de no ficción construido en base a reglas preestablecidas, constricciones o estrategias formales heterodoxas. Piezas fílmicas y videográficas radicales en su forma y en su aproximación a lo real que desafían las convenciones del cine documental y se vinculan con otras prácticas artísticas. Esta investigación teórico-práctica se centra, por un lado, en la búsqueda y análisis de obras de no ficción con una clara vocación minimalista, ligadas al documental de vanguardia, el cine experimental y el videoarte, que se fundamentan en estrategias muy precisas, no como un mero hecho anecdótico, sino como elemento básico que determina la construcción de las mismas. La selección de los filmes y de los videos se ha llevado a cabo analizando sus cualidades para establecer tipologías de estudio y definir la base de modelos teóricos de análisis. Según la técnica o mecanismo utilizado, las cualidades de las películas que se analizan se basan en la restricción del espacio-tiempo, la elección de un único dispositivo formal o algoritmo que estructura toda la pieza, el empleo de estrategias reduccionistas en las que se omiten procedimientos esenciales del cine (como el abandono de la cámara o del montaje) o el uso de fórmulas propias del juego (como el azar o la participación), entre otras. No obstante, nuestro propósito no es tanto hacer un ejercicio de clasificación como de análisis y comprensión de estas fórmulas renovadoras que abren nuevas vías en el cine de lo real. Asimismo, a partir del análisis anterior, nos hemos propuesto idear y generar fórmulas (reglas del juego) que puedan servir de soporte a nuevas obras, ya sean propias o de otros y que presentamos en forma de catálogos y, además, hemos puesto en práctica algunas de estas estrategias en obras videográficas propias e inéditas. / [CA] La present Tesi aborda el cinema de no ficció construït sobre la base de regles preestablides, constriccions o estratègies formals heterodoxes. Peces fílmiques i videogràfiques radicals en la seua forma i en la seua aproximació al real que desafien les convencions del cinema documental i es vinculen amb altres pràctiques artístiques. Aquesta investigació teoricopràctica se centra, d'una banda, en la cerca i anàlisi d'obres de no ficció amb una clara vocació minimalista, lligades al documental d'avantguarda, el cinema experimental i el videoart, que es fonamenten en estratègies molt precises, no com un mer fet anecdòtic, sinó com a element bàsic que determina la construcció d'aquestes. La selecció dels films i dels vídeos s'ha dut a terme analitzant les seues qualitats per a establir tipologies d'estudi i definir la base de models teòrics d'anàlisis. Segons la tècnica o mecanisme utilitzat, les qualitats de les pel·lícules que s'analitzen es basen en la restricció de l'espaitemps, l'elecció d'un únic dispositiu formal o algorisme que estructura tota la peça, l'ús d'estratègies reduccionistes en les quals s'ometen procediments essencials del cinema (com l'abandó de la càmera o del muntatge) o l'ús de fórmules pròpies del joc (com l'atzar o la participació), entre altres. No obstant això, el nostre propòsit no és tant fer un exercici de classificació com d'anàlisi i comprensió d'aquestes fórmules renovadores que obrin noves vies al cinema del real. Així mateix, a partir de l'anàlisi anterior, ens hem proposat idear i generar fórmules (regles del joc) que puguen servir de suport a noves obres, ja siguen pròpies o d'uns altres i que presentem en forma de catàlegs i, a més, hem posat en pràctica algunes d'aquestes estratègies en obres videogràfiques pròpies i inèdites. / [EN] This thesis deals with non-fiction cinema built upon the premise of pre-established rules, constraints or heterodox formal strategies. Radical filmic and videographic pieces both in terms of their form their approach to reality that defy the conventions of documentary cinema and are related to other artistic practices. On the one hand, this theoretical-practical research is centred around the search and analysis of non-fiction works with a clear minimalist vocation, linked to avant-garde documentary, experimental cinema and video art, which are based on very precise strategies, not just as a mere anecdote, but rather as a basic element that determines their construction. The selection of films and videos has been carried out by analysing their qualities to establish study typologies and hence define the basis for theoretical analysis models. Depending on the technique or mechanism used, the qualities of the films that are analysed are based on the restriction of space-time, the choice of a single formal device or algorithm that structures the entire piece, the use of reductionist strategies in which essential cinema procedures are omitted (such as abandoning the camera or montage)or the use of game-related formulas (such as chance or participation), among others. Nevertheless, our purpose is not so much to carry out a classification as to analyse and understand these renovating formulas that open up new avenues in the cinema of reality. Similarly, drawing from the previous analysis, we have suggested to devise and generate formulas (rules of the game) that can serve as support for new works -whether they are our own or those of others- and that we present in the form of catalogues and, in addition, we have put into practice some of these strategies in our own and unpublished videographic works. / Marín Ramos, R. (2022). Reglas del juego: Pautas, constricciones y dispositivos creativos en el cine de no ficción [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183361