| dc.description.abstract | This thesis is a conceptual study that bridges “documentary studies” and “critical discourse on data.” Over the past few decades, the landscape of documentary filmmaking has undergone significant changes, influenced by the advent of digital technologies, the proliferation of various media platforms, and evolving methods of distribution. In this context, data visualizations have emerged as a distinct form of documentary, drawing upon the shared rhetorical function of data and documentary to visually depict the relationship between the material world and its representation. The concept of documentary as data visualization arises from the fact that a significant portion of documentary content is rooted in data. Today, almost any subject matter can be translated into numeric measurements, aiming to quantify, classify, and provide meaning to vast amounts of information. In this thesis, I offer critical insights on the role of data and databases as organizing principles in various modes of documentary and explore filmic concepts such as “montage,” “interactivity,” “archive,” and “remixing” to emphasize the inherent link between form, interpretation, and political impact. Through the presentation of case examples, such as Arthur Jafa’s The White Album (2018), Jeppe Lange’s Abyss (2021), Alisa Lebow’s Filming Revolution (2018), and Basel Abbas & Ruanne Abou-Rahme’s May Amnesia Never Kiss Us on the Mouth (2020-), I highlight documentary films that embody a database logic and offer commentary on the age of information overload. Moreover, I place particular emphasis on the political potential of documentary, showcasing how contemporary filmmakers adopt a reflexive approach in order to confront the inherent biases and harms embedded within data. | eng |