This research is a practice-based, theory-led, examination of forms of extraction under capitalism. The thesis addresses the question of where and how does extraction take place, both in and outside of the wage relationship. Directly employing Marx's concept of surplus extraction, but further extending the concept of extraction as an analytic tool, artistic method, and identifying its aesthetic form. Through the production of an original body of artistic video work, I explore three disparate sites where 'extraction' takes place and employ Science Fiction methods of narrative, the utopian impulse and the 'alienation effect' to critique global capitalism. Drawing on political economic theory, I argue that these new 'zones' of extraction have; forced the further 'subjectification' of labour; supported continued and on-going primitive accumulation - through the creation of global space/time; and promoted the intensification of both relative and absolute surplus value, through the mechanisation of reproduction and the blurring of work and life, through digital technology. The Video Trilogy sets up a dialogue between - fictionreality and space-time, and situates current readings of global extraction in a future/past space, where the inconsistencies of capital are played out. Extraction as concept is utilised to bring together, and expand on, both theoretical readings of the political economy, and to identify that extraction can be redeployed as a cultural or artistic form. I argue that extraction is mobilised through culture, but more importantly, I identify the specific cultural forms of extraction itself. By situating the research between theory and practice, I am able to represent, or interpret, the forms extraction takes - appropriating, performing and re-making them as material and subject within the videos. The research contributes to current critiques of capitalism, in critical theory, art theory, political economy and art-practice-as-research. The video submission brings together a range of aesthetic styles and techniques to construct an original alien world, which is an allegory of our own.

To many in the global North, the favelas of Rio de Janeiro are the most visible face of violence and poverty in Brazil. While the favela film genre (and its subset, the favela documentary) has received significant study, there is a gap in understanding how these filmic texts are created as a result of individual production processes. How do decisions made during the course of production translate into imaginaries, representations, and on-screen content? This research locates multiple forms of non- fiction video within the wider context of mediated representations of poverty and violence in favelas, identifying the tools, mechanisms, and specific tactics employed by both favela stakeholders and production personnel in the co-production of these often heavily-mediated images. Utilizing key informant interviews with Rio-based documentary production personnel actively shooting in favelas, this research highlights specific production processes to understand how implicit incentive structures embodied in production shape and influence representations of the favela space. These findings make the case for understanding non-fiction favela films as the product of a highly structured and nuanced, if asymmetrical, co-production between filmmaker and subjects, rather than a simple linear imposition of meaning from above. These results suggest that the combination of individual production strategies with ongoing changes within the city related to “pacification” serves to simultaneously undermine and re-inscribe traditional imaginaries and mediatic geographies of the favela space. / text