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dc.contributor.advisorSinnokrot, Nida
dc.contributor.authorŠabanović, Faruk
dc.date.accessioned2022-08-29T16:23:44Z
dc.date.available2022-08-29T16:23:44Z
dc.date.issued2022-05
dc.date.submitted2022-06-16T20:13:01.138Z
dc.identifier.urihttps://hdl.handle.net/1721.1/144960
dc.description.abstractThis thesis investigates ways to wed Gene Youngblood’s notions of expanded cinema with the popular appeal of dramatic films whose narrative structures are driven by the conflict-crisisresolution system. By examining alternatives to conventional narratives surrounding war-torn sites of conflict, this thesis examines a series of experimental animation and kinetic and nonlinear story-driven artworks to develop an alternative grammar for a possible visual, narrative, and technical storytelling style for a future society of global peace. Drawing upon my personal history as a Bosnian animation filmmaker and having experienced first-hand the conflict as a casualty of war, these experiments seek to shed light on the imperative for simultaneously seeking a popular anti-war language while avoiding the mass appeal of conflict-driven narrative structures. I have developed a series of open-source, easily reproducible expanded cinematic experiments using everyday materials to address this issue.
dc.publisherMassachusetts Institute of Technology
dc.rightsIn Copyright - Educational Use Permitted
dc.rightsCopyright MIT
dc.rights.urihttp://rightsstatements.org/page/InC-EDU/1.0/
dc.titleExpanded Cinema and War; Trauma in Hyper-Documented Age
dc.typeThesis
dc.description.degreeS.M.
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture
mit.thesis.degreeMaster
thesis.degree.nameMaster of Science in Art, Culture and Technology


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