This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour.

In this thesis, I outline the changing shape of the reenactment in the contemporary true crime documentary to illustrate a burgeoning crisis of epistemology and anxieties about the authority of evidence in the Digital Age. I examine two works—The Jinx and The Imposter—that deal with evidence in formally similar but ideologically opposite ways. Logic in the Digital Age prioritizes an ever-widening collection of increasingly more precise artifacts and details, which supposedly paint a more complete picture but end up highlighting what is unknown more often. Key to this examination is the adoption of classic Hollywood thriller techniques (e.g., non-traditional narrative structures that emphasize subjectivity, twist endings that create uncertainty and doubt, etc.) which indicate a shift away from the traditional “cool” rhetorical control of social realist documentaries towards the emotionally charged manipulation of the thriller. This shift cannot be sufficiently explained by the overarching progression of the documentary towards more reflexive and performative modes. Rather, at the center of this shift is the use of stylized reenactments that share both the thriller’s preoccupation with subjectivity and uncertainty and digital logic’s pervading heterogeneous makeup. This shift troubles the mastery true crime docs implicitly claim to offer through evidence and the authority of the American criminal justice system in a different way than the more self-reflexive modes of documentary. To resolve the trouble, these films appeal less to evidence and more to emotional certainty and pathos as a way of judging guilt and innocence, shifting the way concrete evidence is understood.

This Thesis is concerned with how history is narrated in two selected works by the British artists, Tacita Dean and Jeremy Deller. Chapter one considers Deller's The Battle of Orgreave (2001), a reenactment of a violent miners' strike against Margaret Thatcher's government in 1984-1985. The reenactment brought together reenactment hobbyist and ex-miners to perform the events at Orgreave and created a discourse around the imagined historical role of the working classes. Chapter two examines Dean's book Teignmouth Electron (1999), which recounts the failed voyage of Donald Crowhurst, one of the contestants of the 1967 Golden Globe Race who committed suicide after developing 'time-madness' at sea. She offers the history of this individual as a point of entry into middle-class aspirations in England in the 1960s. Produced at the turn of the 21st century when Britain's New Labour government was instigating an image of a New Britain to match its bygone glory, both works look back to moments in the past that epitomize the decline of the country's old order. Unearthing instances of failure and defeat, each artist offers an alternative glance at Britain's past and present condition than the one promoted by New Labour. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Tato práce se zabývá zasazováním zkušenosti do rámce, aktem zrození, opakování a škálou notací, a nakonec pojmem otevřená partitura (open score). Je zde sledováno několik cest, ve kterých se prezentované přístupy a záměry spájejí do základního konceptu zpracovávaní zkušenosti do partitury. Mezi různými styly a metodami ve vztahu k tomuto fenoménu jsou v práci prozkoumávány: hermeneutický přístup k interpretaci umění Hanse-Georga Gadamera v díle Pravda a metoda, estetická teorie Johna Deweyho v Art as Experience, vývoj notace a otevřené partitury, pravidla happeningu, slovní partitury (word score) a instrukce (event scores), forma manifestu a jeho role v umělecké praxi, návodné principy haiku, reperfomance jako odkaz k minulosti a sociální výzkum, rekonstrukce událostí jako sociálně angažované umění, umělecká praxe ve vztahu k legislativě, týkající se pozemkových práv a volného pohybu v krajině. Primárním cílem práce je odhalit proces redukce výchozí zkušenosti skrze uměleckou metodologii, ústící do konečné volně interpretovatelné práce, která má formu otevřené partitury.

Traditionally, medieval cuisine belongs to the realm of historical or cultural anthropology, as the diet reflects the customs of different social classes, ethnic groups and religious regulations (fasting, kosher meals). Meals are part of ritual and change according to economic and social change. The present work deals in a somewhat unconventional way with the question of how period cuisine is cooked today. The increased interest in research on medieval everyday life and courtly society in the last two decades has expanded the level of knowledge of life at the time and made this information available to those interested in history from the general public. Few things are more everyday than the preparation and consumption of food. Yet today, as centuries ago, something as ordinary as cooking seems to have been pushed out of the main field of vision, off the stage on which history is performed. Or is it otherwise? Period cuisine is something more, it brings to life the roots of our eating habits, our culture, and then as now, the communal meal is the cement of the social group. The object of this paper is to introduce the reader to period cuisine of the first half of the 14th century, and to show the different approaches to period cooking at living history events as paths that, while sharing a common...

This thesis investigates temporal dimensions of reenactment in experimental filmmaking, with a particular focus on the prominent use of this practice in the cinema of Portuguese director Pedro Costa. The research analyzes the non-professional actors’ performances in Costa’s films and broadly explores the implications of cinematic in-person reenactment, a term coined by Ivone Margulies. More specifically, the analysis sets out to challenge the predominant discourse of documentary reenactment by bringing closer attention to the intricate expression and materiality of cinematic temporality in these films, an approach that is also informed by Gilles Deleuze’s notion of the crystal-image. This concept, I argue, enriches our understanding of temporality in relation to reenactment, and ultimately also the impact Costa’s images have in providing us with a more attentive acknowledgment of the cinematic screen event. The aesthetics activated in these works exemplify what I call aesthetics of ambiguity. Contributing to the scholarly debate on reenactment within cinema studies, this work offers new perspectives on the phenomenon from the conceptual, aesthetic, and phenomenological examples of these films. The aesthetics of Costa exemplifies the temporal ambiguity that manifests itself in instances of in-person reenactments. I argue that this aesthetics challenge – and possibly also enrich - the predominant discourse of cinematic reenactment, by loosening its traditional connection to documentary filmmaking and examining it beyond categories of the real and the fictional.

This thesis recognises the incompleteness of early television history, specifically as it is articulated in media archeological explorations. Through the process of reenactment, a series of tropes, conceits and insights are suggested which oblige us to reappraise the ontology of television. These insights are not by imitation but by a multiplicity of readings in the viewing of a historical act in the present day through a laboratorial media archaeological arts practice. The thesis interrogates a perceived gap in media archaeology’s body of knowledge through creative, playful and experimental practice borne of archival and historical research, developed from the proposition that both contemporary media archaeology and television historiography do not concentrate on how television is and can be used, only on how it has been used. The practical elements of the thesis focus on one of the formative moments, John Logie Baird’s first television drama (in collaboration with the BBC): The Man with the Flower in his Mouth. The thesis draws upon Media Studies and the discipline of Media Archaeology which both suggest that historical fragments have stable readings and meanings, recognising that both miss the crucial aspect of artistic license, playfulness, and that a laboratorial media archaeological approach, aligned to a considered reenactment process can create a televisual arts practice to tease out the hidden and forgotten. This activated historical account through reenactment keeps the theatrical, the cinematic and the teleportation in a simultaneous presence, digging into the past to address present and future television through this televisual arts practice.

En 1925, les Kunas (Gunas), autochtones du nord-est du Panama, se soulevèrent en armes afin de contrer les politiques assimilationnistes du gouvernement national. Première étape dans un long processus d’affirmation identitaire et de revendications territoriales, ce soulèvement est aujourd’hui connu sous le nom de Révolution kuna (Revolución Dule). Considéré de nos jours comme un symbole des luttes autochtones pour l’autodétermination et l’autonomie politique, cet épisode historique est grandement célébré dans le territoire de Kuna Yala (Gunayala). À Uggubseni, scène principale du soulèvement de 1925, la commémoration prend la forme d’une reconstitution historique où, pendant plus d’une semaine, les villageois reconstruisent le scénario révolutionnaire. Cette commémoration particulière est l’objet du présent travail de recherche, par lequel nous tentons d’analyser comment est remémorée et interprétée aujourd’hui la Révolution kuna. Pour ce faire, nous nous sommes d'abord penchés sur l’événement même de la commémoration. Une analyse de sa forme nous amena à considérer l’ensemble commémoratif comme un nouveau rite au sein de la ritualité kuna. Nous argumentons que par sa forme carnavalesque, la commémoration permet aux villageois de repenser la relation dialectique entre l’État panaméen et l’autonomie kuna, de même qu’elle sert d’exutoire aux tensions internes. Ensuite, nous nous sommes intéressés aux diverses interprétations de cette étape de l’histoire kuna et panaméenne afin de cerner les différents intérêts impliqués dans la commémoration du soulèvement kuna. Enfin, le cœur de ce travail porte sur le rôle de la mémoire collective dans la construction et la réitération d'un discours identitaire, et ce, en analysant comment la mémoire de la révolution est transmise, reçue, interprétée et utilisée aujourd'hui. / In 1925, the Kunas (Gunas), an aboriginal group in northeastern Panama, rose up in arms to fight the assimilationist policies of the national government. First step in a long process of identity recognition and land claims, this uprising is now known as the Kuna Revolution (Revolución Dule). Considered today as a symbol of the indigenous struggles for self- determination and political autonomy, this historic episode is the centre of important festivities in the territory of Kuna Yala (Gunayala). In Uggubseni, where the uprising of 1925 mainly took place, the commemoration takes the form of an historical reconstruction where, for nearly a week, the villagers re-enact the revolutionary scenario. This commemoration is the subject of my research, where I examine how the Kuna Revolution is remembered and interpreted in Uggubseni today. The first question addressed in this thesis concerns how the revolution is commemorated. An analysis of its form leads us to look at the commemoration as a new Kuna ritual. I argue that, by taking a carnival form, the commemoration allows villagers to rethink the dialectical relationship between the Panamanian state and Kuna autonomy, and at the same time serves as an outlet for internal tensions in the community. I then raise the question of to what exactly is being commemorated in this ritual. In doing so, I analyse the different interpretations of this episode in Kuna and Panamanian history and identify the various interests involved in the commemoration of the Kuna uprising. Finally, I examine the role of collective memory in the construction and reiteration of a discourse of ethnicity, analyzing how the memory of the revolution is transmitted, received, interpreted and used today. / En 1925, los Kunas (Gunas), indígenas del noreste de Panamá, se levantaron en armas en contra de las políticas asimilativas del gobierno nacional. Primera etapa de un largo proceso de afirmación identitaria y de reivindicaciones territoriales, ese levantamiento se conoce hoy en día como la Revolución Kuna (o Dule). Partiendo de considerar ese evento como símbolo de las luchas indígenas para el reconocimiento, la autodeterminación y la autonomía política, en este proyecto de investigación se propone estudiar cómo se celebra, se recuerda y se interpreta hoy en día tal etapa histórica. Concretamente, enfocamos nuestro estudio en la comunidad de Uggubseni, que fue la escena principal de la insurrección de 1925 y donde cada año los comuneros representan su historia, celebrando el aniversario de la Revolución Kuna en forma de una reconstitución histórica. Proponemos acercarnos primero al evento mismo de conmemoración. A través del análisis de la forma hemos llegado a considerarlo como un nuevo rito dentro de la ritualidad kuna. Sostenemos que por su forma carnavalesca, la conmemoración permite a los comuneros repensar la relación dialéctica entre la autonomía kuna y el estado panameño y a la vez resolver tensiones internas en la comunidad. Nos hemos interesado luego por las diversas interpretaciones de la Revolución Kuna, etapa importante de la historia kuna y panameña, para entender los distintos intereses implicados en los eventos conmemorativos. En fin, la preocupación principal de este trabajo se centra en el papel de la memoria colectiva en la construcción y reiteración de un discurso identitario, analizando cómo el recuerdo de la Revolución Kuna se transmite, recibe, interpreta y utiliza hoy en día.

Le témoignage oculaire est un élément fondamental de la résolution des enquêtes criminelles. Pour la bonne conduite des enquêtes judiciaires, il apparait primordial d’obtenir des témoignages exhaustifs et exacts. C'est ainsi qu’une équipe de recherche a conçu une méthode basée sur les principes du fonctionnement de la mémoire ayant pour but l’optimisation du recueil des propos du témoin : l’entretien cognitif (Geiselman et al. 1984). Si cette méthode permet d’obtenir des descriptions détaillées sans diminution de la qualité du témoignage, elle est néanmoins marginalement utilisée par les professionnels de la justice. L’objectif de cette thèse est double : il s’agit de proposer une consigne d’entretien qui prend en compte les processus psychologiques en œuvre dans le rappel d’un évènement en mémoire épisodique, et qui soit acceptable du point de vue des pratiques professionnelles. Une première étape a consisté en l’analyse des pratiques professionnelles. L’évaluation d’une formation à l’entretien cognitif auprès d’enquêteurs de police a montré que la méthode est facilement assimilable par les enquêteurs, suggérant que sa non-application sur le terrain ne résiderait pas dans sa difficulté d’utilisation, mais relèverait plutôt de problèmes d’acceptabilité de la part des professionnels. Pour comprendre les objectifs professionnels de l’audition, nous avons ensuite procédé à une analyse des pratiques en termes d’audition. Cette analyse a révélé que les enquêteurs recherchaient de façon prépondérante des informations sur les actions d’une scène criminelle. Sur la base de ces constats, nous avons conçu une consigne dite de reconstitution, qui fait appel aux traces verbatim en mémoire, et vise à apporter des actions générales et spécifiques d’une scène. La consigne a été testée dans un protocole d’entretien et a démontré son efficacité aussi bien quantitative que qualitative, en apportant davantage d’informations correctes sur une scène comparée à d’autres consignes, sans augmentation concomitante du nombre d’erreurs. Il apparait que la consigne de reconstitution répond de façon pertinente au principal objectif d’une enquête de police. / Eyewitness testimony is a fundamental determinant to the resolution of criminal investigations. To conduct criminal investigations effectively, it appears essential to obtain complete and accurate testimony. For this purpose, a research team has developed a method based on the features of human memory, aiming to enhance the eliciting of eyewitness accounts: the cognitive interview (Geiselman et al., 1984). Although this method enables investigators to obtain detailed descriptions without reducing the quality of the testimony, it is still only marginally used by legal professionals. The objective of this thesis is twofold: it aims to provide interviewing instructions which take into account the psychological processes at work in the recalling of events in episodic memory, while simultaneously being acceptable from the standpoint of professional practice. The first step involved conducting an analysis of professional practices. An evaluation of training in cognitive interviewing by police investigators showed that the method is easily learnt and suggests that the lack of implementation in practice does not stem from the difficulties linked to its implementation, but rather arises as a result of a lack of acceptance among professionals. In order to further our understanding of the professional objectives of the hearing, we then conducted an analysis of practices in terms of hearing. This analysis revealed that investigators were essentially seeking out information about the actions which took place during the crime scene. Based on these findings, we designed a re-enactment-alike interviewing instruction, which activates the verbatim traces in memory and is intended to elicit the general and specific actions of a scene. This instruction was tested in an interviewing protocol and demonstrated its quantitative and qualitative effectiveness in providing a greater quantity of correct information compared with other instructions, whilst withstanding a concomitant increase in the number of errors. Re-enactment-alike instruction thus appears highly relevant for reaching the main objective of a police investigation.

Le corpus de films est constitué par les films amateurs tournés par les coloniaux dans les colonies françaises, Madagascar et le Sénégal. Ce corpus source est enrichi des films contemporains les utilisant. Dans le cadre d'une pratique d'action-recherche, deux films ont été réalisés. En 3 mouvements nous avons essayé de déterminer la valeur des films amateurs coloniaux aujourd’hui. Nous nous sommes appuyés sur l’anthropologie pragmatique et la philosophie de l’ordinaire pour comprendre les enjeux de ces films. Nos enquêtes révèlent que cette absence de valeur correspond à un déni de réalité de la situation coloniale, niant à la fois les injustices et les liens affectifs qui avaient pu être créées principalement entre les enfants de colons et les domestiques. D'où le paradoxe : des films dits "domestiques", les domestiques sont absents. Cette absence est essentielle. Sans les nounous et les boys, ces films sont des no man’s land. De plus, le contexte colonial crée un rapport d'illégitimité voir d'illégalité de ces films. En conclusion nous proposons d'une part une méthode de reconstruction cinématographique qui mette au cœur de son dispositif les trois acteurs liés aux films amateurs : les filmeurs, les filmés, les personnes dans le Hors champs. D'autre part nous proposons la création d'un institut des films amateurs coloniaux reposant sur des principes établis par un éthique de l'archivistique audiovisuelle et qui permettrait aux anciens colonisés de se réapproprier les images spoliées de leur propre passé à une époque où il y avait un monopole des moyens de production audiovisuelle. Cela répondrait à une justice mémorielle, audiovisuelle et affective. / The films corpus is made by amateur films shot by colonials in the French colonies, Madagascar and Senegal. This source corpus is enriched by contemporary films using these amateur films and films from the colonial era. As part of a practice of action research, two films were made. In 3 movements we tried to determine the value colonial home movies may have today. We relied on the pragmatic anthropology and ordinary philosophy to understand the issues of these films. The starting assumption was that these films had been abandoned, they had no more value as a result of a colonial state denied by settlers. Our historical and sociological surveys show that this lack of value is a denial of reality of the colonial situation, denying both injustice and emotional ties that had been created mainly between the settler children and servants. Hence the paradox of films called "domestic" is that domestics are absent. This lack is essential. Without nannies and boys, these films are a no man's land. Moreover, the colonial context creates a report view illegitimacy illegality of these films. In conclusion we propose firstly a cinematic reconstruction method that puts the heart of its system linked to the three actors amateur films: the filmmakers, the filmed people and those in the fields Out. Secondly we propose the creation of an institute of colonial amateur films based on principles established by an ethic of audiovisual archiving that allow former colonized to reclaim the images of their own past at a time when there was a monopoly of audiovisual means of production. This would respond to a memorial, audiovisual and emotional justice.