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Master's Dissertation
DOI
10.11606/D.8.2015.tde-29092015-160010
Document
Author
Full name
Nadia de Matos Barros
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2015
Supervisor
Committee
Pissarra, Maria Constança Peres (President)
Barbosa, Francirosy Campos
Dawsey, John Cowart
Title in Portuguese
O cinema é minha terra natal: fronteiras em movimento na trilogia de Fatih Akin
Keywords in Portuguese
Cinema alemão
Fronteira
Identidade
Abstract in Portuguese
Imbuída de referências interdisciplinares, a presente investigação adota como ponto de partida duas obras da trilogia Amor, Morte e Demônio de Fatih Akin, cineasta alemão de ascendência turca. Sua análise serve de mote para, de maneira mais ampla, debater os desafios que a emergência de subjetividades associadas à identidade muçulmana apresenta à ideia de uma identidade europeia homogênea, dotada de valores que se distanciariam do islã. Fronteiras móveis e em constante negociação se evidenciam na subjetividade de ascendentes de segunda geração turca, complicadas por marcadores sociais de gênero e sexualidade, bem como por conflitos intergeracionais entre os próprios alemães que entram em embate sobre os direitos do contingente imigrante. O trabalho conclui com uma reflexão à vocação do cinema de Akin enquanto fenômeno liminóide que favorece a ascensão de novas legitimidades.
Title in English
Cinema is my motherland: borders in movement in Fatih Akin´s trilogy
Keywords in English
Border
German cinema
Identity
Abstract in English
Permeated by interdisciplinary references, the investigation has as a starting point two works of the 'Love, Death and Devil', trilogy of Fatih Akin, German film director of Turkish descent. Their analysis gives the tone for broadly discussing the challenges that the emergence of subjectivities associated with the Muslim identity present to the idea of a homogeneous european identity, with values that would be very distant to the islam. Moving boundaries and constant negotiations are evident in the subjectivity of the rising second generation of Turkish, complicated by social markers of gender and sexuality, as well as intergenerational conflicts between the germans themselves that come into clash for the rights of the immigrants. The Dissertation concludes with an essay on Akin film's vocation as a liminoid phenomenon that favors the rise of new legitimacies.
 
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Publishing Date
2015-09-29
 
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