Reproducing coercion is an attempt to combine artistic and scientific research (in the form of a book / publication) with poetic visual explorations in the form of a film. Both pieces of work compliment each other and provide a detailed exploration of authoritarian group (commonly referred to as cults) coercive techniques. The films offer visual poetics that support the scientific work and portray the end results of the techniques explored – from the perspective(s) of cult members.
Scientific research provides the framework for categorization of techniques and my artistic research allows for a collection of experiences. The two are then combined with my own personal recollections and recreated in the form of fictional works that explore moments indoctrination and coercion.
The written part:
The written work is based on academic and scientific research on the topic of thought reform techniques and methods commonly used by high-pressure groups; It also delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class – based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization.
Abstract
This thesis is about coercion.
When individuals are exposed to coordinated processes of manipulation, they are unwittingly stripped of agency and their lives impacted beyond measure.
The idea for this work stems out of the experiences of the author who spent his formative years growing up in a religious high- pressure group (commonly referred to as cults). After leaving the group, he had to adapt to modern society, and came to
the realization that he had a unique perspective. He had not been raised with the same normativity others had been systematically exposed to.
Journeying into the intangible and often legitimate yet immoral tools of control, manipulation and precaritization used by high-pressure groups, the work offers insight into common characteristics that help identify and analyse coercive groups, regardless of their ideology or area of operation.
The thesis then delves into an exploration of capitalism (in its various forms and historical structures within western context), and the common characteristics class – based societies exhibit with coercive groups. More notably, the focus is on the reproduction of ideology and the functions of Ideological State Apparatuses in replicating class exploitation and aiding in its internalization.
The topics in this work, explored with an experimental approach, incorporating the author’s personal experiences and recollections, while referencing films he’s produced on the subject matter.
The work consists of three parts:
The first part seeks to identify the characteristics of high-demand groups; it also delves into an overview of Althusser’s theories on the reproduction of ideology. The second part explores the parallels between various forms of capitalist ideology and high-demand groups, while focussing more on absolute thought, language and precaritization. The third part journeys into labour, hierarchy, and compartmentalization of the workplace, exploring how systems are reproduced and how they endure through repetition.
By comparing cult coercion methods to the reproduction of capitalism, the thesis seeks to offer a unique perspective on how ideology is reproduced, irrespective of the doctrine.
Poetic visual explorations
Complimenting the research and scientific work are a series of films – each produced through a highly unique methodology.
The films combine my research on common coercive techniques with personal stories and ethnographic research on the experiences of other ex-cultists. Scientific research provides the framework for categorization of techniques and my artistic research allows for a collection of experiences. The two are then combined with my own personal recollections and recreated in the form of fictional works that explore moments indoctrination and coercion.
The works are fiction, however they are also quite real, raw and provide impact – because they stem out of real experiences.
Each short is self-contained. Together, they provide a larger perspective: that cults aren’t defined by unusual and unorthodox belief systems, but rather by the relations and control mechanisms they utilize. As such, the experiences are interchangeable and similar across a wide range of totalistic systems.
Regarding the style
The film aesthetics and style stems from mydesire to strip my work from the traits of industrial filmmaking and focus on minimalism and cooperation as an alternative to industrial modes and relations of production.
Produced with a minimal crew that consisted of myself r and collaborators, the scenes were co-created through a process of reflection and exchange. Directing in this regard, was transformed into the task of moulding the collective take on the topic. The work has a style that can be viewed as being modern and attractive – and perhaps even commercial – yet aesthetics contradict the space and atmosphere of the stories portrayed.
The viewer is often not sure if the film is an intrusion into reality (and personal space), a fictional depiction of real life experiences, or a concocted piece of fiction altogether. This ambiguity , when combined with the pacing and the shaky exploration of the camera, forces reflection and interpretation by the viewer – ensuring a continuation of the collaboration that had begun on the set to resume with the viewer as well.
Each short film focuses on a different coercion (manipulation) technique used by totalist groups and movements. Yet these experiences are not pronounced and are seemingly innocent, leaving the viewer to draw conclusions and discover how the language and internalization of belief structures work, or don’t. The ambiguity in judgment leaves the viewer to wonder if the moment portrayed is really ominous or sinister – replicating the uncomfortable space in which cult groups operate in – alluding to why we don’t often recognize these structures and how they manage to hide themselves in plain sight.
Access to the work
You can access a digital copy of the scientific work here,