{"id":{"repo_id":"mit","oai_identifier":"oai:dspace.mit.edu:1721.1/144960"},"canonical_url":"https://search.dev.ndltd.org/etd/mit/oai:dspace.mit.edu:1721.1/144960","repository":{"repo_id":"mit","name":"MIT","base_url":"https://dspace.mit.edu/oai/request"},"display":{"title":"Expanded Cinema and War; Trauma in Hyper-Documented Age","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. 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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. 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