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.

This thesis examines Iranian-Kurdish filmmaker, Bahman Ghobadi’s authorial strategies and cinematic aesthetics through the theoretical and methodological lens of hybridity. According to Homi Bhabha, hybridity can be understood as a “third space,” in which cultural meanings resist binary either/or logic, and are instead negotiated through a logic that is neither one, nor the other. Thus, Bhabha’s concept of hybridity as a “third space” provides a fruitful framework to analyze Ghobadi’s authorship and cinematic style. By analyzing Ghobadi’s neo-realist treatment of Kurdistan’s cultural and physical landscape and hybrid cinematic aesthetics in his first two features, A Time for Drunken Horses (2000) and Turtles Can Fly (2004), this research calls attention to intercultural processes that generate cultural meaning through indexical and material as opposed to symbolic registers. In addition, this thesis applies Hamid Naficy’s concept of “shifters” to examine how Ghobadi’s hybrid authorial strategies and narrative reflexivity garners international audiences in his two latest features, Half Moon (2006) and No One Knows about Persian Cats (2009). This project also examines how Ghobadi’s use of a digital camera and employment of digital cinematic techniques to capture Iran’s underground rock music culture in No One Knows about Persian Cats, testifies to the authenticity of this cultural space while simultaneously structuring the film as a global vehicle for these Iranian musicians’ performances. Ultimately, Ghobadi’s hybrid authorial strategies and cinematic aesthetics function as a means to enunciate and globally circulate diverse Kurdish and Iranian cultural identities. In doing so, this thesis illuminates hybrid modes of cultural production and hybrid cultural subjectivities that have emerged in the contemporary globalized landscape. / text

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