O presente trabalho tenta entender o roteiro do filme Contra a Parede (2004), de Fatih Akin, como texto dramático, buscando não apenas contribuir para os estudos do roteiro cinematográfico na área de Letras, mas também na área de Cinema. São enfoques distintos em suas especificidades, mas complementares. Entendido como texto dramático, o roteiro em questão apresenta características típicas da tragédia. Sendo assim, analisamos os personagens principais enquanto personagens dramáticos, o coro e a estrutura desse roteiro, a partir de cenas selecionadas. Interessa-nos em especial a questão da redenção dos protagonistas Cahit e Sibel. Para nos ajudar no substrato teórico, recorremos aos estudos de Aristóteles, Nietzsche, Bordwell, Jaspers e Romilly. / This paper aims to understand the script of the film Head-On (2004), by Fatih Akin, as a dramatic text, seeking not only to contribute to screenplay studies in the field of writing, but also in the field of cinema, for these are different yet complementary approaches. Understood as a dramatic text, the script in question presents features that are typical of the tragedy. Thus, we analyze the main characters as dramatic characters, the chorus and the structure of the script, from selected scenes. We are particularly interested in the matter of redemption of the main characters Cahit and Sibel. To help us in theoretical basis, we turn to the study of Aristotle, Nietzsche, Bordwell, Jaspers and Romilly.

O presente trabalho tenta entender o roteiro do filme Contra a Parede (2004), de Fatih Akin, como texto dramático, buscando não apenas contribuir para os estudos do roteiro cinematográfico na área de Letras, mas também na área de Cinema. São enfoques distintos em suas especificidades, mas complementares. Entendido como texto dramático, o roteiro em questão apresenta características típicas da tragédia. Sendo assim, analisamos os personagens principais enquanto personagens dramáticos, o coro e a estrutura desse roteiro, a partir de cenas selecionadas. Interessa-nos em especial a questão da redenção dos protagonistas Cahit e Sibel. Para nos ajudar no substrato teórico, recorremos aos estudos de Aristóteles, Nietzsche, Bordwell, Jaspers e Romilly. / This paper aims to understand the script of the film Head-On (2004), by Fatih Akin, as a dramatic text, seeking not only to contribute to screenplay studies in the field of writing, but also in the field of cinema, for these are different yet complementary approaches. Understood as a dramatic text, the script in question presents features that are typical of the tragedy. Thus, we analyze the main characters as dramatic characters, the chorus and the structure of the script, from selected scenes. We are particularly interested in the matter of redemption of the main characters Cahit and Sibel. To help us in theoretical basis, we turn to the study of Aristotle, Nietzsche, Bordwell, Jaspers and Romilly.

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This thesis investigates representations of happiness in recent German literature and film. The interpretations focus on how happiness is negotiated in the context of home and travel, of Heimat and Fremde, in order to understand happiness, not only insofar as it contributes to “the good life”, but also as an element that shapes public discourses. My readings of works of fiction take into account how notions of happiness have shifted since the turn of the millennium. One reason for this shift is the heightened interest in happiness research, one of the most thriving interdisciplinary research fields of the last decade, which includes disciplines such as psychology, neurosciences, political science, sociology and economics. The following texts and films are examined in this context: Sommerhaus, später (1998) and Nichts als Gespenster (2003) by Judith Hermann, Transfer Lounge (2003) by Gregor Hens, Die Habenichtse (2006) by Katharina Hacker, Head-On (German: Gegen die Wand, 2004) by Fatih Akın, When We Leave (German: Die Fremde, 2010) by Feo Aladağ, Der Blick hinab (2007) by Shirin Kumm, Unveiled (German: Fremde Haut, 2005) by Angelina Maccarone, Cherry Blossoms (German: Kirschblüten – Hanami, 2008) by Doris Dörrie and Zehn (2010) by Franka Potente. My theoretical framework is informed in part by Sara Ahmed’s 2010 influential study, The Promise of Happiness, which takes a critical view toward recent happiness research from a cultural studies perspective. My analysis is directed at the ways in which concepts of happiness are narrated, negotiated and challenged within the context of transnational stories, which are inscribed with the effects of “supermodernity” (Augé) in a globalized world. I show how these works subvert themes and motifs that are associated with happiness, such as home and Heimat and travel or migration into the West. Finally, my readings show how these works mediate and reflect public dialogues and traditional notions about what makes us happy or unhappy, and I demonstrate how new configurations of happiness arise from these narratives. / Thesis (Ph.D, German) -- Queen's University, 2013-05-30 17:42:26.632

The topic of dissertation is the view and the understanding of term ?love? in Turkish-German coexistence. The dissertation is divided into two main sections. The first one contains general information about life of Turks in Germany. The history-overview of migration to Germany precedes this description. In the theoretical section there is also described the meaning of intercultural life, intercultural literature and intercultural movie. This section is based especially on the studied literature. The second section of dissertation includes analysis of literature work and movie from the view of characters-characteristic and their understanding of term ?love?. Also we can find here the description, how each character copes with the feeling ?to be in love?. The goal of the dissertation is to show intercultural life in the context of the basic human feeling?in the context of love.

C’est après deux opus sur l’immigration turque en Allemagne que le réalisateur turc-allemand Fatih Akin décide d’explorer la période la plus sombre de son pays d’origine. Avec le film The Cut (2014), il clôt la trilogie Liebe, Tod und Teufel. Ce mémoire réfléchit sur l’utilisation du genre Western dans la représentation du génocide arménien. Nous ferons tout d’abord un court historique du genre Western et de la représentation génocidaire au cinéma, pour ensuite analyser le film d’après la notion de genre et voir dans quelle mesure l’utilisation d’un genre connu universellement permet à Fatih Akin de ne pas justifier ses choix esthétiques. Au cours de cette analyse, nous nous baserons sur quatre éléments clés afin d’établir un lien avec le genre Western: la figure du héros, les paysages, le mythe de la frontière ainsi que le titre du film lui-même. Le but de ce travail ne sera pas d’être comparatif, mais bien de déterminer dans quelle mesure le film s’inscrit dans le mouvement Postwestern. Enfin, la notion d’identité nous permettra de comprendre de quelle manière le film The Cut s’insère au sein de la trilogie d’Akin. / It is after his second opus on Turkish immigration in Germany that Turkish-German director Fatih Akin decided to explore the darkest period of his country of origin. With the film The Cut, he ends the trilogy Liebe, Tod und Teufel. This master’s thesis reflects on the use of the Western genre in the representation of the Armenian Genocide. We will start with a short history of the Western genre and the representation of genocide in cinema. Then we will analyse the film as per the notion of genre and see under which measure the use of a universally known genre enables Fatih Akin to justify his aesthetic choices. During this analysis, we will use four key elements as the groundwork to establish a link with the Western genre. They are the figure of the hero, the landscapes, the myth of the frontier and the title of the film itself. The intention of this research is not to be comparative, but to situate the film within the movement that is the Post-western. Finally, the notion of identity will allow us to understand how the film The Cut exists within Akin’s trilogy. / Nach seinem zweiten Opus zur türkischen Immigration entschied sich der türkisch-deutsche Regisseur Fatih Akin, die dunkelste Periode seines Heimatlandes zu verfilmen. Mit dem Film The Cut beendet er seine Trilogie Liebe, Tod und Teufel. Diese Magisterarbeit analysiert die Verwendung des Westerngenres in der Darstellung des armenischen Völkermordes in The Cut. Begonnen wird mit einem kurzen Überblick über die Geschichte des Westerngenres, bevor auf die Darstellung des Völkermords im Film eingegangen wird. Im Anschluss wird untersucht, inwiefern die Verwendung des Genres Western Fatih Akin seine filmästhetischen Entscheidungen ermöglicht. Diese Untersuchung basiert auf der Grundlage von vier Schlüsselmotiven: der Heldenfigur, der Landschaft, des Mythos des Grenzlandes sowie des Filmtitels selbst. Die Intention dieser Analyse ist jedoch nicht vergleichender Natur. Es wird vielmehr versucht, den Film in seine Einzelteile zu zerlegen, um ihn in die Post-Western-Bewegung einbetten zu können, ohne dabei das Identitätsstreben der ersten beiden Filme der Trilogie außer Acht zu lassen. In diesem Kontext lässt sich eine Verbindung mit dem Heimatfilm herstellen und es wird ein besseres Verständnis für die Rolle von The Cut innerhalb der Trilogie ermöglicht.