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This dissertation is an Investigation into the Tuareg involvement in violent conflict in the Sahara and the Sahel of North Africa from a sociological psychological perspective of unmet human needs. The research begins by establishing the structure and texture of the sociological, psychological, and emotional life patterns of their existence when not involved in violent conflict. This is followed by an examination of the pathology of Tuareg social structures that are engaged in intra and inter communal violence as perpetrators, victims, and bystanders. The first part of the research establishes normal conditions of the sociological life cycle and highlights natural areas of conflict that arise from exposure to rapid and/or external changes to their physical and social environment. The second part establishes parameters of expected damage from trauma, extended conflict, and failure to adapt to rapid environmental, social and political changes. The research methodology relies on a case study format that uses collaborative ethnography and phenomenological inquiry to answer the research questions and validate propositions made from existing literature and pre]existing research. The research questions focus on aspects of the sociological structure and failing psychological and emotional needs that are relevant to the subjectfs involvement in violent conflict. The research propositions are in part shaped from existing knowledge of tribal sociological structures that are related to the Tuareg by ethnicity, environment, and shared psycho]cultural attributes. The expected contribution of this research is the development of an alternative praxis for tribal engagement and village stability operations conducted by the United States Special Operations Command.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.