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Teona Yamanidze, University of Melbourne, AustraliaAbstract
This paper translates the central research arguments of my project into the framework of epistemic violence, examining Soy Cuba, The Antique, Russians at War, and Zygar’s videos to show how digital manipulation and film aesthetics operate as epistemic mechanisms. I argue that Western festivals and liberal media institutions, through their platforms and curatorial choices, may contribute to the violation of knowledge and reproduce the systems of epistemic harm. This discussion leads to a broader question of who holds the agency to shape narratives, especially in a modern landscape where the lines between manipulation and the “democratization of information” (Castells, 1996, pp. 364–370) are blurred. Today, storytelling, whether through films or other media, has become a sphere of ideological control, presented at both the level of content and the infrastructures through which that content is rolled out.
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Conference: KAMC2025Stream: Film Studies
This paper is part of the KAMC2025 Conference Proceedings (View)
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To cite this article:
Yamanidze T. (2026) The Cinema of Complicity: Reframing Narrative Authority ISSN: 2436-0503 – The Kyoto Conference on Arts, Media & Culture 2025: Official Conference Proceedings (pp. 365-377) https://doi.org/10.22492/issn.2436-0503.2025.30
To link to this article: https://doi.org/10.22492/issn.2436-0503.2025.30
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