CROSSLANDS is a novel about two Americans, Walter and Sissy, who find themselves trapped in Mexico. They are out of money, credit, and a job. They are trapped because they haven’t been able to secure a passport for their Mexican-born son, and have been told by the authorities, both American and Mexican, that they won’t be able to leave without one. The novel is a gradual pressuring of these characters as they go from town to town in an effort to bribe an official to give them what they need. As they grow more frantic, all the failings of their young marriage, and the dubious circumstances surrounding it, are revealed. The main character, Walter, is an idealistic, though unsuccessful actor from New York City. Sissy is young and volatile, emaciated from a country constantly violating her body. Except for a few brief flashbacks, the setting occurs entirely in Mexico- principally in Querétaro, but also in Mexico City and Patzcuaro. Seen through one lens, the novel is about Walter’s desperation to maintain his artistic freedom. It also turns the current Mexican immigration issue on its head. By stripping away all the benefits of being American (money, influence, etc.), even the identity of their son, Walter and Sissy are reduced to the plight that many immigrants suffer in the United States. They confront the language barrier, the strangeness of a foreign culture, and ironically, the fence that runs along the border prevents them from returning to their own country.

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This thesis explores the home as a foreign place in the three films The Foster Boy (Der Verdingbub, Markus Imboden, 2011), Undine (Undine, Christian Petzold, 2020) and Synonyms (Synonymes, Nadav Lapid, 2019). The theoretical framework draws on the concepts of Heimat and home as well as on aspects of diaspora, exile and nomadism, which are combined in a conceptualisation to which I refer to as ‘the foreign home’. Relevant literary sources are Hamid Naficy, David Morley, Peter Blickle and others. The film analysis discusses how the foreign home is narrated and expressed on the narrative itself as well as on the stylistic and aesthetic level. The discussion of the foreign home occurs in reference to an underlying storytelling structure in which the home and the non-home become one place, the foreign home. The underlying storytelling structure entails five different sections that reveal the foreign home and its gradual development. These sections are: leaving home and moving on, the space and the objects of the new home, modes of displacement, adjustment to the new home, and hostility and opposition in the new home. The analysis is conducted based on these sections. This research contributes to the study of home in film and focuses especially on the opposite relationship of the home as a foreign place in film.

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[pt] Este trabalho investiga a produção historiográfica e os artigos políticos do historiador português Joaquim Barradas de Carvalho no período em que viveu no Brasil na condição de exilado político (entre os anos de 1964 e 1970). O principal objetivo é demonstrar que a produção acadêmica de Barradas é influenciada e influencia sua visão política. O pesquisador e professor da USP é um espelho do membro do Partido Comunista Português e opositor do Salazarismo – espelho que reflete e, ao mesmo tempo, é refletido. Verificou-se que experiência de Barradas enquanto exilado no Brasil tem uma importância fundamental na definição de suas posições acadêmica e política (influindo tanto na imagem que traça do Regime Salazarista como na sua própria auto-imagem enquanto intelectual). Procura-se, também, entender a singular forma como o historiador caracteriza o período dos Descobrimentos – entendido como auge da História Portuguesa, e centro em torno do qual se organizam todos os outros períodos. Com esse objetivo analisam-se as influências teóricas na obra de Barradas, especialmente a do discurso decadentista – grupo de autores portugueses que tinham em comum uma denúncia da decadência da sociedade lusitana relacionada a um sentimento de saudade do seu passado glorioso. Por fim, constatou-se que essa visão histórica de Barradas determina e é determinada pela sua oposição ao salazarismo (entendido como verdadeira antítese da cultura dos Descobrimentos). / [en] This work investigates the historiographic production and the political articles from the Portuguese historian Joaquim Barradas de Carvalho in the periodthat he lived in Brazil in exile (from 1964 to 1970). The main goal is to show that Barrdas academic production is influenced and it also influences his political pointof view. The researcher and USP s professor is a mirror from the member of the Portuguese Communist Party and opponent to Salazarism - mirror that reflectsand is reflected at the same time. It was noticed that Barradas - experience as an exile in Brazil has a fundamental importance on the definition of his academic andpolitical positions (influencing either on the image that he creates of the Salazarist scheme or on his own auto-image as an intellectual person). It is also sought tounderstand the singular way the author characterizes the discoveries period seen as the peak of the Portuguese History, and the center in which all the otherperiods are organized. With this objective, it is verified the theoretical influences on Barradas work, specially on the decandestist speech group of Portugueseauthors that had in common a warning for the decadence of the Portuguese society related to a saudade feeling from its glorious past. Finally, it is noticed that thisBaradas historical view determines and is determined by his opposing to salazarism (seen as a truly antithesis from the culture of the discoveries).