2026-09-19T12:58:26Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/1449602022-08-30T03:35:47Zcom_1721.1_7582com_1721.1_7581col_1721.1_131023
Sinnokrot, Nida
Šabanović, Faruk
Massachusetts Institute of Technology. Department of Architecture
2022-08-29T16:23:44Z
2022-08-29T16:23:44Z
2022-05
2022-06-16T20:13:01.138Z
https://hdl.handle.net/1721.1/144960
This 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.
S.M.
Massachusetts Institute of Technology
In Copyright - Educational Use Permitted
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http://rightsstatements.org/page/InC-EDU/1.0/
Expanded Cinema and War; Trauma in Hyper-Documented Age
Thesis
application/pdf
Master
Master of Science in Art, Culture and Technology
Publication
unknown
unknown
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<Abstract>This 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.</Abstract>
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