{"id":{"repo_id":"buffalo","oai_identifier":"oai:ubir.buffalo.edu:10477/78544"},"canonical_url":"https://search.dev.ndltd.org/etd/buffalo/oai:ubir.buffalo.edu:10477/78544","repository":{"repo_id":"buffalo","name":"Buffalo","base_url":"https://ubir.buffalo.edu/oai/request"},"display":{"title":"Movement of our expanded selves","abstract":"M.F.A.","abstract_html":"M.F.A.","abstract_has_math":false,"creators":["Doktor, Rachel"],"institution":"State University of New York at Buffalo","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Elder, Sarah","Media Study"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2018,"date_issued":"2018-10-26T02:55:08Z","date_published":"2018-10-26T02:55:08Z","updated_at":"2026-07-27T19:05:12Z","subjects":["film studies"],"languages":["eng"],"rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10477/78544","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Elder, Sarah","Media Study"]},{"key":"dc:creator","label":"Author","values":["Doktor, Rachel"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2018-10-26T02:55:08Z","2018","2018-07-31 17:07:39"]},{"key":"dc:publisher","label":"Institution","values":["State University of New York at Buffalo"]},{"key":"dc:type","label":"Dc Type","values":["Text","Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["film studies"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/10477/78544"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["M.F.A.","As humans, we have a strong relationship with visual and sensory perception, as well as particularspaces where memories were once made. This paper covers how our visual interaction, spatial memoryinformation and sensory experience of spaces gives an embodied feeling through camera movement. As a mirrorof our own bodily expression, movement has been a tool of cinema allowing the creator to reach further beyondjust still images, giving access to a private world through the perception of the dead. In the second half of thispaper I will trace the making of my thesis film Find Me (2018) as well as my early influences from other artiststhat helped shape my utilization of camera movement as a cinematic mechanism and tool. Along with what suchmovement can represent within a scene, perceived through living or non-living eyes. I will explore and analyzefilmatic examples where movement takes on an advanced, embodied presence, specifically in relation to how thedead may view us in our temporal state of reality.By creating a new visual perception through a continuous expansion of time, memory and spacescombine with spatial camera movement as the driving force. This creation of a new visual perception is possiblethrough the filmic interpretation and presence of time, utilizing off-screen space and the expanded frame. I willaddress these spatial relationships - fueled through information from memories, that drive our perceptions ofobjects, beings and surroundings. Whether contained in a cinematic representation of reality, the operator of thecamera itself, or lived-body heightens the viewer consciousness of the scene by hovering or observing. Thisfurther places the viewer within the scene not just as the observer, but also as the embodied presence. Presenceof the observer is embedded within perception, its materialization depends on what was formed before, and whatstill remains. The remnants of memories in combination with camera movement can amplify this presence,forming an increased cinematic representation of the dead that breaches temporal rules of reality."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Movement of our expanded selves"]}]}],"canonical_facts":{"dc:contributor":["Elder, Sarah","Media Study"],"dc:creator":["Doktor, Rachel"],"dc:date":["2018-10-26T02:55:08Z","2018","2018-07-31 17:07:39"],"dc:description":["M.F.A.","As humans, we have a strong relationship with visual and sensory perception, as well as particularspaces where memories were once made. This paper covers how our visual interaction, spatial memoryinformation and sensory experience of spaces gives an embodied feeling through camera movement. As a mirrorof our own bodily expression, movement has been a tool of cinema allowing the creator to reach further beyondjust still images, giving access to a private world through the perception of the dead. In the second half of thispaper I will trace the making of my thesis film Find Me (2018) as well as my early influences from other artiststhat helped shape my utilization of camera movement as a cinematic mechanism and tool. Along with what suchmovement can represent within a scene, perceived through living or non-living eyes. I will explore and analyzefilmatic examples where movement takes on an advanced, embodied presence, specifically in relation to how thedead may view us in our temporal state of reality.By creating a new visual perception through a continuous expansion of time, memory and spacescombine with spatial camera movement as the driving force. This creation of a new visual perception is possiblethrough the filmic interpretation and presence of time, utilizing off-screen space and the expanded frame. I willaddress these spatial relationships - fueled through information from memories, that drive our perceptions ofobjects, beings and surroundings. Whether contained in a cinematic representation of reality, the operator of thecamera itself, or lived-body heightens the viewer consciousness of the scene by hovering or observing. Thisfurther places the viewer within the scene not just as the observer, but also as the embodied presence. Presenceof the observer is embedded within perception, its materialization depends on what was formed before, and whatstill remains. The remnants of memories in combination with camera movement can amplify this presence,forming an increased cinematic representation of the dead that breaches temporal rules of reality."],"dc:format":["application/pdf"],"dc:identifier":["http://hdl.handle.net/10477/78544"],"dc:language":["eng"],"dc:publisher":["State University of New York at Buffalo"],"dc:rights":["Users of works found in University at Buffalo Institutional Repository (UBIR) are responsible for identifying and contacting the copyright owner for permission to reuse. University at Buffalo Libraries do not manage rights for copyright-protected works and cannot assist with permissions.","Copyright retained by author."],"dc:subject":["film studies"],"dc:title":["Movement of our expanded selves"],"dc:type":["Text","Thesis"]},"updated_at":"2026-07-27T19:05:12Z"}