{"id":{"repo_id":"auckland-tech","oai_identifier":"oai:openrepository.aut.ac.nz:10292/20062"},"canonical_url":"https://search.dev.ndltd.org/etd/auckland-tech/oai:openrepository.aut.ac.nz:10292/20062","repository":{"repo_id":"auckland-tech","name":"AUT University","base_url":"https://openrepository.aut.ac.nz/server/oai/request"},"display":{"title":"A Trojan Horse: Twenty-First Century Argentine Community Cinema as a Device of Decolonial Praxis","abstract":"In contemporary Argentina, if the overriding factor in subaltern groups’ integration into audio-visual production has been the technological democratization of resources, which allowed them to become literate in audio-visual language, we need to make clear that this “democratization of resources” also meant a “democratization of human resources”. This calls our attention to the task assumed by community audio-visual production facilitators who perform in a “critical frontier positioning” dynamic that involves the borderisation of knowledge (intellectual-artistic/popular) as their working framework. It also seeks to conceptualize power relations involved in its production-circulation processes, including its technical and rhetorical strategies to communicate through the senses (its aesthesis), as contestations to neoliberal logics self-perpetuating as the only possible ethical alternative in contemporary modus vivendi. In this scheme, community cinema emerges as an ethical-aesthetic performative device involved in decolonial aesthesis and decolonial pedagogy to advance toward the decolonial project. In this thesis' selected cases casted from peripheral geo-cultural locations, such functioning could be observed as a discourse of critical interculturalism consolidation operated by semio-practical processes of technological and territorial appropriation, some of which can be defined as: “resilient communication”, “aesthetic performance” and “techno-aesthetical embodiment”.","abstract_html":"In contemporary Argentina, if the overriding factor in subaltern groups’ integration into audio-visual production has been the technological democratization of resources, which allowed them to become literate in audio-visual language, we need to make clear that this “democratization of resources” also meant a “democratization of human resources”. This calls our attention to the task assumed by community audio-visual production facilitators who perform in a “critical frontier positioning” dynamic that involves the borderisation of knowledge (intellectual-artistic/popular) as their working framework. It also seeks to conceptualize power relations involved in its production-circulation processes, including its technical and rhetorical strategies to communicate through the senses (its aesthesis), as contestations to neoliberal logics self-perpetuating as the only possible ethical alternative in contemporary modus vivendi. In this scheme, community cinema emerges as an ethical-aesthetic performative device involved in decolonial aesthesis and decolonial pedagogy to advance toward the decolonial project. In this thesis' selected cases casted from peripheral geo-cultural locations, such functioning could be observed as a discourse of critical interculturalism consolidation operated by semio-practical processes of technological and territorial appropriation, some of which can be defined as: “resilient communication”, “aesthetic performance” and “techno-aesthetical embodiment”.","abstract_has_math":false,"creators":["Grosman Miranda, Carla Marcela"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025","date_published":"2025","updated_at":"2026-07-27T18:46:13Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10292/20062"],"render_values":[{"text":"hdl:10292/20062","href":null,"code":true}]}]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2025"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10292/20062"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.other","label":"Dc Description Other","values":["In contemporary Argentina, if the overriding factor in subaltern groups’ integration into audio-visual production has been the technological democratization of resources, which allowed them to become literate in audio-visual language, we need to make clear that this “democratization of resources” also meant a “democratization of human resources”. This calls our attention to the task assumed by community audio-visual production facilitators who perform in a “critical frontier positioning” dynamic that involves the borderisation of knowledge (intellectual-artistic/popular) as their working framework. It also seeks to conceptualize power relations involved in its production-circulation processes, including its technical and rhetorical strategies to communicate through the senses (its aesthesis), as contestations to neoliberal logics self-perpetuating as the only possible ethical alternative in contemporary modus vivendi. In this scheme, community cinema emerges as an ethical-aesthetic performative device involved in decolonial aesthesis and decolonial pedagogy to advance toward the decolonial project. In this thesis' selected cases casted from peripheral geo-cultural locations, such functioning could be observed as a discourse of critical interculturalism consolidation operated by semio-practical processes of technological and territorial appropriation, some of which can be defined as: “resilient communication”, “aesthetic performance” and “techno-aesthetical embodiment”."]},{"key":"dc:title","label":"Title","values":["A Trojan Horse: Twenty-First Century Argentine Community Cinema as a Device of Decolonial Praxis"]}]}],"canonical_facts":{"dc:date.issued":["2025"],"dc:description.other":["In contemporary Argentina, if the overriding factor in subaltern groups’ integration into audio-visual production has been the technological democratization of resources, which allowed them to become literate in audio-visual language, we need to make clear that this “democratization of resources” also meant a “democratization of human resources”. This calls our attention to the task assumed by community audio-visual production facilitators who perform in a “critical frontier positioning” dynamic that involves the borderisation of knowledge (intellectual-artistic/popular) as their working framework. It also seeks to conceptualize power relations involved in its production-circulation processes, including its technical and rhetorical strategies to communicate through the senses (its aesthesis), as contestations to neoliberal logics self-perpetuating as the only possible ethical alternative in contemporary modus vivendi. In this scheme, community cinema emerges as an ethical-aesthetic performative device involved in decolonial aesthesis and decolonial pedagogy to advance toward the decolonial project. In this thesis' selected cases casted from peripheral geo-cultural locations, such functioning could be observed as a discourse of critical interculturalism consolidation operated by semio-practical processes of technological and territorial appropriation, some of which can be defined as: “resilient communication”, “aesthetic performance” and “techno-aesthetical embodiment”."],"dc:identifier":["hdl:10292/20062"],"dc:title":["A Trojan Horse: Twenty-First Century Argentine Community Cinema as a Device of Decolonial Praxis"],"dc:type":["Thesis"]},"updated_at":"2026-07-27T18:46:13Z"}