GIS- Driven Translations of Film Narratives: A Space-Time Cube of Christopher Nolan\u27s Dunkirk

Space-time cubes are a form of 3D cartography ideal for the synthesis of temporal and spatial data, and have thus been used to construct qualitative narratives that map the pathways of stories and life histories over time. This project extends this methodology into the realm of filmmaking by translating Christopher Nolan’s 2017 film Dunkirk into a space-time cube. In doing so, this project in turn offers a synthesis of GIS and digital humanities. Through deliberate cutting across multiple characters’ perspectives, Dunkirk tells a tripartite narrative that is emotionally gripping yet logistically confusing. This project transforms Dunkirk’s non-linear narrative into a space-time cube for the purpose of chronological elucidation in a GIS environment. Multiple sets of temporal and spatial data were derived through the study of Dunkirk’s fictional plot and research of true historical events. The data were then mapped in a space-time cube in linear chronological order. The results of this project analyze the proficiency of GIS in translating stories from the medium of film into 3D cartographic space, as well as the wider application of spacetime cubes in film narrative storyboarding

Transnational Identity in Online Discourse – Netflix’s Sense8 and accompanying Twitter communication

Digital media has become ubiquitous and immensely shapes communitarisation, and thus identity construction. As media does not rely on physical border crossing to bring us in con-tact with different subject positions, traditional forms of mobility are not necessary to include people in transnational discourse and narratives of transnational identification. However, scholarly attention has been focused on discourses of transnational identities tied to traditional transgressions of national space. To bridge this gap the question of how digital transnational identity is constructed in a fictional narrative and through accompanying non-fictional communication is answered. The method employed for this examination is digital discourse analysis. Objects of investigation are the Netflix Original sci-fi production Sense8, that tells a story about transnational community formation, and accompanying communication on Twitter. I argue that narratives of Sense8 are taken up in tweets featuring #Sense8 and #Sense8NetflixRewatch to construct transnational identities. Five discursive strategies are present in fictional and non-fictional environments, which are constitutive for digital transnational identities: emphasizing connectivity, foregrounding shared values in the identity negotiation, displaying network aesthetics, communicating in transnational spaces, and replacing nationality through the interplay of local and global. Transnational challenges (e.g. the refugee crisis or the Covid19-pandemic) show how interconnected the world is, but simultaneously increasing national isolation tendencies and negative identity politics illustrate that it is crucial to look at what connects people beyond nationality. Developing an understanding of how people place themselves in global connections can aid facilitating worldwide cooperation, migration policies and help managing otherness

DESIGNING A TAXONOMY FOR VIRTUAL MUSEUMS FOR THE USE OF AVICOM PROFESSIONALS

Full version unavailable due to 3rd party copyright restrictions.This thesis aims to go beyond the concept of so called ‘virtual museums’. In this work I will attempt to trace a new definition of the term ‘virtual museum’ providing the concept with renewed dignity, comparable to ICOM’S definitions of museums and other existing definitions of the concept. To do so the main part of this thesis is about creating a meta­model of taxonomy capable of including all the experimentations that have taken place in the field of ‘virtual museums’ in the last 20 years. In this direction I have investigated the concept of the museum as a medium as described by McLuhan and other thinkers, both within and outside the field of museology. The discovery of an unabridged work by McLuhan on technology in museums endorses, and opens a discussion on how technology is intended to be used for the communication of heritage. Another aim of this thesis is to investigate how museum professionals can deal with the new role of Information Technology in communicating heritage. In this thesis I intend to respond to the need of museum professionals both inside and outside ICOM for definitions and clearer understanding concerning the following questions ‘What is a virtual museum? Can it be comparable with a ‘real’ museum? What different kinds of virtual museums can be discerned in past experimentations? Can they be included in a taxonomy? How does this change the day to day work of museum professionals in accordance with the new technological potential for the communication of heritage