@sim.dsgn
Stories, whether on screen or in our minds, are how we make
sense of existence. Movies are more than entertainment. They
are reflections, distortions, and revelations of who we are.
They offer both escape and confrontation, immersing us in
experiences that are not our own yet feel deeply familiar. In the
darkness of a theater or the solitude of recollection, we surrender
to narratives— constructed by others or by ourselves—only to
find our own fears, desires, and questions staring back at us.
This thesis explores how both cinema and memory shape
human subjectivity, perception, and meaning-making. Just as
filmmakers frame shots, construct narratives, and manipulate
time, we craft our identities through selective memory,
perspective, and storytelling. Movies make this process visible,
revealing that real- ity itself is not fixed but filtered through i
nterpretation. Likewise, memory is not a static archive, but a
fluid reconstruction, each recollection reshaping what we think
we know. The more we revisit a memory, the more it transforms,
much like a film edited and re-edited over time.
Through design, photography, and written analysis, this thesis
argues that we are not passive spectators of life. Whether
through film or memory, we are constantly composing, editing,
and reframing our experiences—seeking clarity, searching for
meaning, and discovering ourselves in the stories we tell.
Boston University College of Fine Arts
School of Visual Arts