The intention of this thesis is to determine the warning signals and prevent actions to conduct successfully FARC DDR’s process. Although, Colombia has experienced multiple DDR processes during its recent history, the political violence continues to be rage with the country. After each process, Colombia notes the mutation of criminal structures, which have deployed their tentacles to other Latin American countries. Understanding the salient issues that led to the success or failure of DDR processes will aid the Government of Colombia (GOC) to faces the process with FARC. The main argument of this thesis is that, GOC; in order to carry out successfully DDR of the FARC must take into account DDR “best practices”, and experiences not only in Colombia but also in other countries. El Salvador and South Africa are the selected countries, due to some similarities that present their DDR’s experiences with some features of the Colombian conflict. This thesis also will cover past Colombian experiences in DDR from the end of La Violencia to most recent AUC’s DDR, as well as the “individual demobilization” programs for insurgents. In other words, an analysis of these cases will provide the best approaches to conduct a successful DDR process.

DISAPPROPRIATIONS is a conceptual and practical reflection on online digital archives in particular, and on found footage filmmaking in general. It entails a series of 11 video artifacts exhibited online and “on-site” through QR-code stickers spread throughout the city of Montreal.  My main objective has been to investigate and instigate a dialectical montage as defined by Eisenstein, in the hyper-reality of the social, as defined by Jean Baudrillard.Secondly, I explore and promote a radically experimental use of editing (as digital assemblage and manipulation of moving images) with regards to digital based media. Although inscribed into the tradition of found footage film, DISAPPROPRIATIONS is a search for an archival practice that embraces cyberspace as a source of content and also as an aesthetical domain. Last but not least, this project is fundamentally the result of an intense reflection upon my past, present, and future film practice and the creative embodiment of three years’ research done within the MFA programme.