<p>August Underground is one of the sickest series of movies that ever been made. We try to understand what makes them so chocking to its audience. Critics says that the August Underground movies imitates Snuff, and we ask the question; How do people know what Snuff looks like.</p>

“What is more real than the thoughts in your mind?”, “Re/structure your memories, re/construct your reality, re/define yourself”. The foundation of my research is about practising theory instead of theorising practice. My project begins with theory, which then leads to the science fiction film Mnemophrenia that constitutes the practical aspect of it. I attempt to demonstrate how theory and practice can be joined to create a fruitful union, each one feeding the other. In my research, I am inspired by Marshall McLuhan’s idea and use the medium as the message in order to depict and explore how cinema can affect human memory and more specifically create artificial memories and thus contribute to the dissolution of any boundaries between reality and fiction. The key research question that Mnemophrenia explores is: what would happen if in a future postmodern society the Bazinian myth of ‘total’ cinema becomes a reality? If ‘total cinema’ is pure realism and cinema can lead to artificial memories, then artificial memories and pure realism become one and films become artificial memories. Mnemophrenia depicts a different kind of human being or species, a schizophrenic ‘cyborg’ changed from within due to the advancement of virtual reality films which signals the end of cinema as we know it today. Mnemophrenia is about the future of cinema and maintains a horizon of hope that could lead to utopia; it does not discard technology as something evil as many previous science fiction films have done. I am interested in depicting through the film and examining in my thesis the possibility of a society where the dissolution of borders between fiction and reality does not lead to horrific consequences for humanity but instead promotes a potential for a new kind of identity that is an amalgam of real and artificial memories.

August Underground is one of the sickest series of movies that ever been made. We try to understand what makes them so chocking to its audience. Critics says that the August Underground movies imitates Snuff, and we ask the question; How do people know what Snuff looks like.

Made available in DSpace on 2016-04-26T18:14:06Z (GMT). No. of bitstreams: 1 Leandro Martins Borges.pdf: 1300808 bytes, checksum: ff11f79fb81a55aa49b0df03f11f15b3 (MD5) Previous issue date: 2014-05-15 / This research investigates in which way the documentary, understood here as a regime of truth, is contested by the documentary production known as fake documentary. This genre appropriates the esthetic/narrative documentary forms in order to tell a fictional story. We consider that it is possible to criticize the very construction of the regimes of truth in a subversive way through its mimicry. This approach the subversive power within the fake documentary is not found in the few studies on the subject. Jane Roschoe s and Alexandra Juhasz s books, along with Matheus Barbosa Emérito s dissertation analyze the fake documentary from its formal aspects, seeing it as a parody or a deconstruction of the documentary. Our proposal is to build a film analysis of two fake documentaries chosen for their capability to generate a double critique of the regime of truth, present both in the cinematographic aspect and in the subject of the movies. From the theories of discourse and the concepts developed by Foucault, i ek and Lacan, relating regime of truth, falseness and ideology, we analyze the films Exit Through The Gift Shop and Opération Lune. As an expected result there is the possibility of perceiving how a film genre, typically associated with its commitment to the truth, can be paradoxically a means used subversively to generate noise in the regimes of truth. This paper intends to analyze the cinematographic resources that make a movie being classified as a documentary possible, and how the fake documentary uses the same resources to carry out a subversive critique of the regimes of truth related to the subject of each film / Esta pesquisa investiga de que forma o documentário, aqui entendido como um regime de verdade, é contestado pela produção documentária conhecida como falso-documentário. Esse gênero se apropria das formas estético/narrativas documentárias, para narrar uma história ficcional. Consideramos que ao se mimetizar um regime de verdade, seja possível realizar uma crítica, de forma subversiva, à própria forma de construção de regimes de verdade. Esse enfoque na potência subversiva presente no falso documentário não é encontrado nos poucos estudos sobre o assunto. Os livros de Jane Roschoe, Alexandra Juhasz e a dissertação de Matheus Barbosa Emérito, analisam o falso documentário a partir da questão formal, compreendendo-o como uma paródia ou uma desconstrução do documentário. Nossa proposta é construir uma análise fílmica de dois falsos documentários selecionados por sua capacidade em gerar uma dupla crítica ao regime de verdade, presente tanto no aspecto cinematográfico, assim como no tema de seus filmes. A partir das teorias de discurso e dos conceitos desenvolvidos por Foucault, i ek e Lacan, relacionando regime de verdade, falso e ideologia, analisaremos os filmes Exit Through the Gift Shop e Opération Lune. Como resultado esperado, se coloca a possibilidade de perceber como um gênero cinematográfico, comumente associado ao seu compromisso com a verdade, pode ser, paradoxalmente, um meio usado de forma subversiva para gerar ruídos nos regimes de verdade. Este trabalho visa a análise dos recursos cinematográficos que possibilitam que um filme possa ser classificado como um documentário, e como o falso documentário se utiliza desses mesmos recursos, para realizar uma crítica subversiva aos regimes de verdade relacionados ao tema de cada filme

Djupgående analyser av filmerna Konspiration 58 och Forgotten Silver, tillhörande genrehybriden mockumentärfilm.

對於社工,一般大眾的瞭解不深,常伴隨著「做好事」、「幫助窮人」、「有愛 心」等刻板印象;或是負面的「拆散家庭」、「多管閒事」、「官僚」;甚至有許多 人以為社工就是志工,是不支薪而樂於付出的一群。創作者自幼長期接觸社工與 其工作環境,盼透過影像創作方式,呈現台灣社工所面臨的某些現實。 《標準量表》從一兒虐案出發,以類紀錄片的方式帶出相關人事物,討論案 中每個角色所面臨的困難與心理衝擊,以及案發後所有人如何適應、回歸、繼續 生活。特別將視角集中在負責本案的基層社工,以她為敘事中心,講述一個社工 與家暴家庭的互動故事,呈現社工在個案服務工作中的心情轉折,讓觀眾有機會 認識這些心理負擔與壓力。並期待透過本片,建構一個兩難的世界,畢竟真實社 會中的習題,往往不是結束在一個定點,而是事情發生後,人們怎麼繼續走下去。 / We don’t know much about social workers, who sometimes been thought of “doing things good”, “helping the poor”, “kind and compassionate”; or accompanied with some negative thought, “destroy families”, “make uncalled-for meddling”, and “officialdom”. Even some people think social workers are volunteers, who are happy and willing to help people without salary. The writer of this story has contacted with social workers since she was a child and tries to show some reality of them by visual productions. Standard Scale of Humanity is a story of a basic level social worker and a child-abused family, and produced by skills of mockumentary. The film lets every character in the case talks about her stories, feelings, and how to back to the normal life after the tragedy, so the audiences have chances to know more about the pressure, load, and difficulties of social workers and offenders. Moreover, the production hopes to create a situation of dilemma, because things not always stop at a particular point in the real world, after all, it is more important to know how to live after something bad happened.