This thesis uses approaches adapted from narrative analysis to provide a detailed examination of the two CBC Fifth Estate documentaries on the case of Ashley Smith (Behind the Wall, 2010; Out of Control, 2010). In particular, it considers how different voices and pieces of evidence are brought together to construct coherent documentary narratives and contextualizes these narratives within broader feminist criminological discourse. This project develops the concepts of ‘internal’ and ‘external’ coherence and considers how attempts to maintain coherence influence the way the Smith case is presented in the documentaries. Drawing on Foucault’s (1976) discussion of subjugated knowledge, this project explores how the process of creating a coherent narrative necessitates the subjugation of controversial knowledge. By juxtaposing the arguments in the documentaries against those of feminist criminology, the findings reveal how attempts to formulate a critique of Canadian prisons that appeals to a national audience subjugates feminist critique.

As the climate crisis continues unabated, documentary films have become an increasingly popular medium through which to communicate its causes and impacts. Such films are an easily accessible form of mass media that has the potential to reach wide-ranging and large audiences, and often star popular celebrities. However, few academic studies have examined climate change documentaries and considered the ‘story’ of climate change that such films create. The lack of critical engagement with climate change documentaries is significant as it suggests the narratives of such films have been left largely unexamined despite their importance as a form of popular environmental communication. In this thesis, I use content analysis and narrative analysis to examine how 10 popular climate change documentaries tell the ‘story’ of climate change and produce specific ‘imaginative geographies’ about regions that are particularly vulnerable to climate change. Though I note throughout my analysis that there are several moments of rupture in which counter-narratives emerge, the dominant discourse throughout these 10 films is one that generally reinforces Western science and technocratic modernity as the solution to climate change, and racialized ‘Others’ as its passive victims. Understanding how climate change documentaries construct their narratives and select their specific topics of focus provides important insight into how popular ‘imaginaries’ regarding the climate crisis have been produced. / Graduate

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Press Release for Dissident Vectors here: http://www.concordia.ca/cunews/artsci/cissc/2018/05/14/dissident-vectors.html

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