The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic research otherwise hard to represent. A key question of the doctoral research has been whether a nuanced understanding of foreign cultures can be created and mediated by combining ethnographic research methods with the processes of dramatic work. Even though Rouch made ethnofictions as part of his ethnographic research, he infused the genre with elements of surrealism and poetry, and often opposed anyone trying to establish theories about his films. Defying Rouch's view on this matter, this thesis explores ethnofiction as an ethnographic filmmaking method by drawing on the experiences from fieldwork and filmmaking among transgendered Brazilians living in São Paulo. The fieldwork resulted in a feature-length ethnofiction and an ethnographic documentary short: Transfiction focuses on identity and discrimination in the daily lives of Brazilian travestis and transsexuals. Informed by transgendered artists, prostitutes, healthworkers and political activists, Fabia Mirassos projected her life through the role of Meg, a transsexual hairdresser confronting intolerance and re-living memories of abuse. Savana 'Bibi' Meirelles plays Zilda who makes her living as one of the many transgendered sex workers in São Paulo, as she struggles to find her way out of prostitution. Drama Queens is an ethnographic documentary short and contains four scenes from the over 200 hours of rushes that were recorded during the fieldwork. The scenes are from São Paulo's annual Pride Parade and present Bibi, Fabia and Phedra who were the main informants of the research conducted at the theatre Os Satyros in central São Paulo.

L’étude porte sur la question des burakumin, les intouchables japonais, dans deux oeuvres de l’écrivain japonais Nakagami Kenji (1946-1992), lui-même issu de cette communauté. Mille ans de plaisir, recueil de six contes basés sur des récits de vie, et le roman Miracle forment une suite organisée autour des mêmes lieux, des mêmes personnages et des mêmes thèmes. Ils décrivent la condition sociale d’une collectivité mise au ban de la société japonaise malgré sa modernisation. Ils se distinguent par leur caractère d’ethnofiction. Nakagami cherche à réhabiliter les burakumin en valorisant le patrimoine religieux et folklorique dont ils sont dépositaires. Il puise dans les genres traditionnels comme le monogatari ou les contes et légendes du Japon. Il s’inspire également d’auteurs modernes japonais (Mishima, Tanizaki) et d’auteurs étrangers (Faulkner, García-Márquez). À partir de cet intertexte et pour faire barrage à l’occidentalisation, il élabore un style « hybride » digne de la littérature nationale (kokubungaku). Les oeuvres traditionnelles sont réinterprétées dans une esthétique postmoderne ayant une fonction ironique et critique contre l’idéologie impériale répressive qui continue d’alimenter la discrimination envers les burakumin. L’analyse porte sur les procédés qui sous-tendent le projet social et le projet littéraire de l’auteur. Elle se divise en trois parties. La première donne un aperçu biographique de l’auteur et décrit les composantes de son projet social qui consiste à vouloir changer l’image et le statut des burakumin. La deuxième partie décrit les éléments religieux et folkloriques des deux oeuvres et analyse en contexte leur signification ainsi que leur fonction, qui est de mettre en valeur les traditions préservées par les burakumin. La troisième partie montre en quoi le répertoire traditionnel (monogatari) et les intertextes sont mis au service du projet littéraire proprement dit. / This study addresses the issue of burakumin, Japanese untouchable or social outcast, in the works of the Japanese novelist Nakagami Kenji (1946-1992), who had himself come from this community. Together, A Thousand Years of Pleasure, a collection of six tales based on life stories, and the novel Miracle, form a continuum articulated around the same places, characters and themes. They describe the social condition of a community exiled by the Japanese society in spite of its modernization and stand out as works of the ethnofiction genre. Nakagami tries to rehabilitate the burakumin by the valorization of the religious and folk heritage of which they are the custodians. He draws from the traditional works such as monogatari, the folk tales and legends of Japan. He also draws from contemporary Japanese authors (Mishima, Tanizaki) as well as from foreign ones (Faulkner, García-Márquez). With this intertext as a starting point and to stand against westernization, he elaborates a “hybrid” style worthy of the national literature (kokubungaku). The traditional works are reinterpreted with postmodern aesthetics that introduce an ironic and critical tone against the repressive imperial ideology still feeding discrimination towards burakumin. The analysis bears on the processes underlying the social and literary projects of the author. The thesis is divided in three parts. The first one provides a biographic overview of the author`s life and describes the components of his social project which consisted in changing the image and status of burakumin. The second describes the religious and folk elements of both works and analyzes in context their meaning and their function, which is to emphasize the traditions upheld by the burakumin. The third and last part shows how the traditional repertoire (monogatari) and intertexts are used to support the literary project itself.

L’étude porte sur la question des burakumin, les intouchables japonais, dans deux oeuvres de l’écrivain japonais Nakagami Kenji (1946-1992), lui-même issu de cette communauté. Mille ans de plaisir, recueil de six contes basés sur des récits de vie, et le roman Miracle forment une suite organisée autour des mêmes lieux, des mêmes personnages et des mêmes thèmes. Ils décrivent la condition sociale d’une collectivité mise au ban de la société japonaise malgré sa modernisation. Ils se distinguent par leur caractère d’ethnofiction. Nakagami cherche à réhabiliter les burakumin en valorisant le patrimoine religieux et folklorique dont ils sont dépositaires. Il puise dans les genres traditionnels comme le monogatari ou les contes et légendes du Japon. Il s’inspire également d’auteurs modernes japonais (Mishima, Tanizaki) et d’auteurs étrangers (Faulkner, García-Márquez). À partir de cet intertexte et pour faire barrage à l’occidentalisation, il élabore un style « hybride » digne de la littérature nationale (kokubungaku). Les oeuvres traditionnelles sont réinterprétées dans une esthétique postmoderne ayant une fonction ironique et critique contre l’idéologie impériale répressive qui continue d’alimenter la discrimination envers les burakumin. L’analyse porte sur les procédés qui sous-tendent le projet social et le projet littéraire de l’auteur. Elle se divise en trois parties. La première donne un aperçu biographique de l’auteur et décrit les composantes de son projet social qui consiste à vouloir changer l’image et le statut des burakumin. La deuxième partie décrit les éléments religieux et folkloriques des deux oeuvres et analyse en contexte leur signification ainsi que leur fonction, qui est de mettre en valeur les traditions préservées par les burakumin. La troisième partie montre en quoi le répertoire traditionnel (monogatari) et les intertextes sont mis au service du projet littéraire proprement dit. / This study addresses the issue of burakumin, Japanese untouchable or social outcast, in the works of the Japanese novelist Nakagami Kenji (1946-1992), who had himself come from this community. Together, A Thousand Years of Pleasure, a collection of six tales based on life stories, and the novel Miracle, form a continuum articulated around the same places, characters and themes. They describe the social condition of a community exiled by the Japanese society in spite of its modernization and stand out as works of the ethnofiction genre. Nakagami tries to rehabilitate the burakumin by the valorization of the religious and folk heritage of which they are the custodians. He draws from the traditional works such as monogatari, the folk tales and legends of Japan. He also draws from contemporary Japanese authors (Mishima, Tanizaki) as well as from foreign ones (Faulkner, García-Márquez). With this intertext as a starting point and to stand against westernization, he elaborates a “hybrid” style worthy of the national literature (kokubungaku). The traditional works are reinterpreted with postmodern aesthetics that introduce an ironic and critical tone against the repressive imperial ideology still feeding discrimination towards burakumin. The analysis bears on the processes underlying the social and literary projects of the author. The thesis is divided in three parts. The first one provides a biographic overview of the author`s life and describes the components of his social project which consisted in changing the image and status of burakumin. The second describes the religious and folk elements of both works and analyzes in context their meaning and their function, which is to emphasize the traditions upheld by the burakumin. The third and last part shows how the traditional repertoire (monogatari) and intertexts are used to support the literary project itself.

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. / 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.

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. / 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.

[pt] Esta pesquisa-intervenção tem como tema a etnoficção na preservação e divulgação de manifestações populares de mascarados no carnaval do estado do Rio de Janeiro. O estudo visa investigar de que forma o design pode contribuir com o método de etnoficção para mascarados no carnaval, tendo em vista a pluralidade de aspectos formais, simbólicos e performativos destas tradições mascaradas. A pesquisa parte do pressuposto de que a ficção ilustrada é uma técnica que pode divulgar de forma expressiva o levantamento documental. E tem como objetivo verificar a eficácia do uso da etnoficção ilustrada na construção de um acervo vivo sobre estas manifestações mascaradas, favorecendo a sua dimensão colaborativa e processual. As contribuições teóricas de autores da perspectiva crítica e dos Estudos Culturais Latino-americanos foram essenciais para examinar, a partir de categorias de análise no âmbito da narrativa, manifestações populares de mascarados brasileiros, e suas intermitências, tendo como foco o eixo de influências coloniais europeias para estas tradições. Além disso, o levantamento de narrativas orais e de registros fotográficos e textuais contribuíram para o entendimento dos desafios para a preservação e divulgação destas tradições mascaradas. Como proposta de intervenção no campo de pesquisa, foi desenvolvida uma narrativa ficcional ilustrada, com foco no público infanto-juvenil. A partir das dinâmicas realizadas foi possível avaliar a potência do uso de registros visuais, particularmente do desenho, como estímulo para o retorno de novos dados, viabilizando um processo de mapeamento colaborativo e participativo dessas manifestações. / [en] The theme of this intervention-research is the use of the ethnofiction method for the preservation and dissemination of popular masquerade demonstrations in Carnival celebrations all over the state of Rio de Janeiro. This research seeks to investigate how Design can contribute to the ethnofiction method for Carnival masquerades, given the aesthetic, symbolic and performative diversity of these traditions. This study is based on the assumption that illustrated fiction is a technique with potential to significantly spread the documentary survey. Therefore, this research seeks to determine the effectiveness of using illustrated ethnofictions to build a procedural and collaborative memoir archive. The theoretical contributions of authors from the critical perspective and from the Latin American Cultural Studies were essential to examine, from the narrative point of view, popular demonstrations of Brazilian masquerades, and their intermittences, focusing on the European colonial influences on these traditions. In addition, the gathering of oral narratives, and photographic and textual records helped understand the challenges for preservation and dissemination of these masked traditions. As a proposal for intervention in the research field, an illustrated fictional narrative for children and teens was developed. Based on the dynamics performed along the research, it was possible to observe how the use of drawings had an enormous potential as stimulus for the gathering of new data, enabling a collaborative and participatory mapping process of these masquerade traditions.