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Doctoral Thesis
DOI
10.11606/T.8.2018.tde-28062018-092752
Document
Author
Full name
Kelen Pessuto
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2017
Supervisor
Committee
Sztutman, Renato (President)
Barbosa, Francirosy Campos
Gatti, André Piero
Gonçalves, Marco Antonio Teixeira
Novaes, Sylvia Maria Caiuby
Title in Portuguese
Made in Kurdistan: Etnoficção, infância e resistência no cinema curdo de Bahman Ghobadi
Keywords in Portuguese
Antropologia visual
Bahman Ghobadi
Cinema curdo
Etnoficção
Infância
Abstract in Portuguese
Esta tese se propõe a pensar sobre o lugar da infância no cinema curdo de Bahman Ghobadi e tem como objeto de estudo os filmes Life in fog (Zendegi da Meh, 1999), A Time for Drunken Horses (Zamani barayé masti asbha, 2000), Turtles can Fly (Lakposhtha parvaz mikonand, 2004), Life on the Border (2015) e A Flag Without a Country (2015). Minha hipótese é que em seus filmes o lugar que a criança ocupa é de agência, pois as crianças deixam de ser seres passivos, para se tornarem agentes sociais. Isso transparece tanto nos personagens construídos quanto em suas funções durante a realização dos filmes, quando atuam também enquanto coautoras, pois o método de direção de Bahman Ghobadi dialoga com as etnoficções criadas por Jean Rouch, que conta com a colaboração dos sujeitos filmados. A opção de Ghobadi por fugir das normas convencionais de se fazer cinema, além de ser uma opção estética, é também política, e efetiva-se como um cinema de resistência, que se assume enquanto um cinema curdo. Para entender quais infâncias Ghobadi aborda e o que significa para essas crianças serem curdas, procuro descobrir os contextos nos quais elas estão inseridas. Realizo isso através de um panorama do cinema curdo e seu diálogo com a sociedade, que investiga os temas que esse cinema utiliza, as guerras que essas crianças enfrentam, o uso do idioma, a censura e a relação com os países hospedeiros.
Title in English
Made in Kurdistan: Ethnofiction, childhood and resistance in Bahman Ghobadis Kurdish cinema
Keywords in English
Bahman Ghobadi
Childhood
Ethnofiction
Kurdish cinema
Visual anthropology
Abstract in English
My hypothesis is that in Ghobadis movies children are invested with agency, for they are not passive beings, but social agents. This surfaces in the constructed characters as well as in their engagement as coauthors of the films, because Bahman Ghobadis directing method dialogues with Jean Rouchs ethnofictions, both relying upon the collaboration of the subjects on screen. Ghobadis choice to skip the conventional movie making rules is more than an aesthetical one, it is also a political one, accomplishing a cinema of resistance, claiming itself to be a Kurdish Cinema. To understand witch childhoods are approached by Ghobadi and what does it means to those children to be Kurdish, I investigate the context they dwell. This investigation is carried out by presenting a Kurdish Cinema panorama and its dialogue with the society, investigating the themes presented by this cinema, the wars those children face, the uses of language, the censorship and the relation with the host countries.
 
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Publishing Date
2018-06-28
 
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