This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.

Imbuída de referências interdisciplinares, a presente investigação adota como ponto de partida duas obras da trilogia Amor, Morte e Demônio de Fatih Akin, cineasta alemão de ascendência turca. Sua análise serve de mote para, de maneira mais ampla, debater os desafios que a emergência de subjetividades associadas à identidade muçulmana apresenta à ideia de uma identidade europeia homogênea, dotada de valores que se distanciariam do islã. Fronteiras móveis e em constante negociação se evidenciam na subjetividade de ascendentes de segunda geração turca, complicadas por marcadores sociais de gênero e sexualidade, bem como por conflitos intergeracionais entre os próprios alemães que entram em embate sobre os direitos do contingente imigrante. O trabalho conclui com uma reflexão à vocação do cinema de Akin enquanto fenômeno liminóide que favorece a ascensão de novas legitimidades. / Permeated by interdisciplinary references, the investigation has as a starting point two works of the \'Love, Death and Devil\', trilogy of Fatih Akin, German film director of Turkish descent. Their analysis gives the tone for broadly discussing the challenges that the emergence of subjectivities associated with the Muslim identity present to the idea of a homogeneous european identity, with values that would be very distant to the islam. Moving boundaries and constant negotiations are evident in the subjectivity of the rising second generation of Turkish, complicated by social markers of gender and sexuality, as well as intergenerational conflicts between the germans themselves that come into clash for the rights of the immigrants. The Dissertation concludes with an essay on Akin film\'s vocation as a liminoid phenomenon that favors the rise of new legitimacies.

Imbuída de referências interdisciplinares, a presente investigação adota como ponto de partida duas obras da trilogia Amor, Morte e Demônio de Fatih Akin, cineasta alemão de ascendência turca. Sua análise serve de mote para, de maneira mais ampla, debater os desafios que a emergência de subjetividades associadas à identidade muçulmana apresenta à ideia de uma identidade europeia homogênea, dotada de valores que se distanciariam do islã. Fronteiras móveis e em constante negociação se evidenciam na subjetividade de ascendentes de segunda geração turca, complicadas por marcadores sociais de gênero e sexualidade, bem como por conflitos intergeracionais entre os próprios alemães que entram em embate sobre os direitos do contingente imigrante. O trabalho conclui com uma reflexão à vocação do cinema de Akin enquanto fenômeno liminóide que favorece a ascensão de novas legitimidades. / Permeated by interdisciplinary references, the investigation has as a starting point two works of the \'Love, Death and Devil\', trilogy of Fatih Akin, German film director of Turkish descent. Their analysis gives the tone for broadly discussing the challenges that the emergence of subjectivities associated with the Muslim identity present to the idea of a homogeneous european identity, with values that would be very distant to the islam. Moving boundaries and constant negotiations are evident in the subjectivity of the rising second generation of Turkish, complicated by social markers of gender and sexuality, as well as intergenerational conflicts between the germans themselves that come into clash for the rights of the immigrants. The Dissertation concludes with an essay on Akin film\'s vocation as a liminoid phenomenon that favors the rise of new legitimacies.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O Nacional-socialismo representou, ao negar os princípios centrais da modernidade ocidental, a idéia de uma outra modernidade baseada, ao mesmo tempo, no resgate e na projeção futura das antigas glórias da nação germânica. Neste sentido, o filme O Triunfo da Vontade da cineasta alemã Leni Riefenstahl aparece como a grande representação estética do nazismo, traduzindo em imagens os principais aspectos da ideologia nacional-socialista. Ao trabalhar com extrema genialidade todo um conjunto de referências simbólicas e míticas presentes no imaginário alemão, Riefenstahl construiu, portanto, uma das mais impactantes peças de divulgação do regime hitlerista, apresentando ao mundo os ideais do Terceiro Reich e a força da nova Alemanha. / The National Socialism, as it denied the basic principles of the occidental modernism, represented the idea of another modernity based on the rescue and the future projection of the past glories of the Germanic nation. In this sense, the movie Triumph of the Will produced by the German film-maker Leni Riefenstahl appears as the great representation of the Nazism esthetics, showing through images the main aspects of the National Socialist ideology. By working every symbolic and mythical reference presented in the German imagination with a great geniality, Riefenstahl built one of the most impacting instruments of distribution of the Hitler regime, showing to the world the ideals of the Third Reich and the strength of the New Germany.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O Nacional-socialismo representou, ao negar os princípios centrais da modernidade ocidental, a idéia de uma outra modernidade baseada, ao mesmo tempo, no resgate e na projeção futura das antigas glórias da nação germânica. Neste sentido, o filme O Triunfo da Vontade da cineasta alemã Leni Riefenstahl aparece como a grande representação estética do nazismo, traduzindo em imagens os principais aspectos da ideologia nacional-socialista. Ao trabalhar com extrema genialidade todo um conjunto de referências simbólicas e míticas presentes no imaginário alemão, Riefenstahl construiu, portanto, uma das mais impactantes peças de divulgação do regime hitlerista, apresentando ao mundo os ideais do Terceiro Reich e a força da nova Alemanha. / The National Socialism, as it denied the basic principles of the occidental modernism, represented the idea of another modernity based on the rescue and the future projection of the past glories of the Germanic nation. In this sense, the movie Triumph of the Will produced by the German film-maker Leni Riefenstahl appears as the great representation of the Nazism esthetics, showing through images the main aspects of the National Socialist ideology. By working every symbolic and mythical reference presented in the German imagination with a great geniality, Riefenstahl built one of the most impacting instruments of distribution of the Hitler regime, showing to the world the ideals of the Third Reich and the strength of the New Germany.

This thesis researches the depiction of Turkish stereotypes in German cinematography. Specifically, it investigates gender stereotypes in Turkish family as seen through the lens of German society and represented in German cinematography; this study accentuates the issue of gender stereotypes in Turkish family as most controversial, debated, and potent in terms of shaping the media image of Germany's Turkish community. The thesis covers long films of German production that deal with the issue of Germany's Turkish community. It spans the time period between 1970, when films covering the Turkish issue began to appear in Germany, and 2010, which enables to maintain a sufficient distance to investigate the film production. Theoretically, the thesis sets itself the task of researching stereotypes, providing its definitions, typologies, and discussing its relevance in research on cinematographic production. It then sheds light on the evolution of the image of a Turk in German society. It also provides a brief historical overview of German film production dealing with the issues of Turkish-German cohabitation in Germany. In the empirical part, the thesis explores two most representative films of the researched period (Gegen die Wand, by Fatih Akin, drama, 2004; die Fremde, by feo Aladag, drama, 2010) in...

In my dissertation, I discuss three of Akın’s feature films: Im Juli (In July, 2000), Gegen die Wand (Head-On, 2004), and Auf der anderen Seite (The Edge of Heaven, 2007) in order to investigate Akın’s filmic visions of Europe. Through close textual readings, I analyze three aspects of his films in particular: the spatial conceptions of Europe (city- and landscapes), the sounds of Europe (music and languages) as well as the display of ethnic minorities and the changing urban demography in Germany and Europe. I argue that Akın employs an “aesthetic of heterogeneity” to portray his filmic Europe as a diverse space, in which multiethnic and multilingual music, people, and sceneries are juxtaposed with regions that often have been perceived historically and politically as distinct and complicated. My first chapter discusses Akın’s conceptions and depictions of European Space in In July. By analyzing city- and landscapes, soundscapes, and dynamic spaces in In July, I argue that Akın provides a dynamic, fluctuating, and interconnected European space, including Eastern Europe and Turkey. In my second chapter, I scrutinize language use and dialogue in Head-On to map out the changing demographics in European urban spaces. Ultimately, I argue that Akın moves beyond Hamid Naficy’s theory of “accented cinema” by including accented languages and dialects for all protagonists, including Western Europeans. Through this linguistic polyphony, multilingualism and a diversity of accents are depicted as integral elements of today’s Europe. In my final chapter, I discuss the sound of Europe as depicted in The Edge of Heaven. Looking particularly at music (and music lyrics) in the film, I argue that Akın’s use of dubbed and remixed music (especially by the artist Shantel) underscores Akın’s filmic challenges to (national) European borders. By foregrounding the mixed styles of music, where an “original” becomes hard to decipher, the director shows, on an aural level, that blurring boundaries and multidirectional movement are the predominant components of today’s Europe. / text

A história da Alemanha foi profundamente marcada por fatos como a queda do Muro de Berlim (1989) e a Reunificação do país (1990). Desde então, as representações artísticas não poderiam deixar de retratar esses acontecimentos e suas consequências. Entre elas, a literatura e o cinema alemães têm se ocupado em vários momentos de tais fatos históricos e das mudanças deles decorrentes. De todas as vertentes literárias e cinematográficas que se destacaram nestas últimas duas décadas, a memorialística, ou seja, a preocupação em resgatar e preservar a memória nacional e pessoal as lembranças coletivas e individuais, e também familiares tem se mostrado presente e significativa em suas produções. Relembrar o passado pode ser uma forma não apenas de analisá-lo e compreendê-lo melhor como também de manter vivas certas figuras (entes queridos) através das lembranças. A narrativa assume, portanto, um importante papel ao combater a morte e tudo o que ela representa: superando a perda, procurando evitar o esquecimento e ensinando a aceitar as transformações, a fim de realizar o trabalho do luto. As obras analisadas nesta tese se encaixam de algum modo na categoria acima e oferecem elementos históricos e narrativos que estabelecem um diálogo entre elas, tornando possível um estudo comparativo. Embora se trate de duas obras independentes: um livro de Jakob Hein Vielleicht ist es sogar schön (2004) e de um filme de Wolfgang Becker Good bye, Lenin! (2003) os quais não originaram um ao outro, é possível encontrar pontes (elementos comuns) que as aproximam. Deste modo, o objetivo desta tese é analisar a estrutura narrativa das obras, verificando o papel do narrador, as questões históricas e o tema da morte no livro e no filme. Para tanto, foram usados como fundamento teórico essencialmente os textos de Todorov, Genette, Bordwell, Bandeira, Freud. / The history of Germany was deeply marked by facts like the fall of the Berlin Wall (1989) and the Reunification of the country (1990). Since then, the depicting of these events and their consequences has not been left out by artistic representations. Among those, German literature and cinema, at various moments, have been concerned with such historical facts and the changes originated with them. Of all the literary and cinematographic trends which have stood out in the last two decades, the memorialistic one, i.e. the concern with retrieving and preserving both national and personal memory the collective and individual recollections, and family ones as well has been present and significant in its productions. Remembering the past may be a way to analyze and better understand it as well as keeping certain figures (beloved ones) alive through memories. Therefore, narrative takes a very important part in fighting death and everything it represents: overcoming loss, trying to avoid oblivion, and teaching how to accept changes, in order to fulfill the elaboration of mourning. The works analyzed in this thesis somehow fit the category above and provide historical and narrative elements which establish a dialogue between them, making a comparative study possible. Although these are two independent works: a book by Jakob Hein Vielleicht ist es sogar schön (2004) and a film by Wolfgang Becker Good bye, Lenin! (2003) which have not originated each other, it is possible to find bridges (common elements) which bring them close together. Thus, the objective of this thesis is to analyze the narrative structure of the works, studying the role of the narrator, the historical questions, and the theme of death in both the book and the film. To achieve that, texts by Todorov, Genette, Bordwell, Bandeira, Freud were used as theoretical basis.

Der Ausgangspunkt der vorliegenden Dissertation ist die nationale Identitätsproblematik in den westdeutschen und georgischen Autorenfilmen zwischen den 60er- und 80er- Jahren. Die Arbeit analysiert zwei unterschiedliche, in verschiedenen sozial-kulturellen Bedingungen und unterschiedlichen politischen Systemen entwickelte Filmkulturen, die über zwei Jahrzehnte hinweg die kulturelle Szene der jeweiligen Länder besonders geprägt haben. Sie gliedert sich in mehrere Teile, die sich mit folgenden Schwerpunkten auseinandersetzen: - Die Filmsituation der jeweiligen Filmkulturen in der Nachkriegszeit und in den 50er Jahren als Vorgeschichte des Autorenfilms. - Die Entwicklung des Autorenfilms in beiden Ländern und im internationalen Vergleich. - Das Verhältnis der Autorenfilmemacher/Innen zur Frage der nationalen Identität. - Die Analyse der unterschiedlichen Aspekte, Stoffe, Motive und besonderer filmischer Sprache verschiedener westdeutscher und georgischer Autorenregisseure/Innen vor dem Hintergrund ihrer jeweiligen kulturhistorischen Spezifik. - Interviews mit westdeutschen und georgischen Autorenfilmer/Innen zu diesem Thema. - Vergleichende Gegenüberstellung der westdeutschen und georgischen Autorenfilme. Die Arbeit endet mit einer Filmographie der interpretierten Filme sowie einem Literaturverzeichnis. / The thesis analyses and compares the two different cultures of cinema in West Germany and Georgia which evolved under different sozio-cultural conditions in two different political systems and which had a strong impact on cultural life in their countries for decades. The thesis focuses on the question of national identity reflected in the West German and Georgian cinema between the 1960s and the 1980s. The thesis has following structure: - Prehistory of Autorenfilm in West Germany and Georgia: The national cinemas after World War II in the late 1940s and in the 1950s in both countries. - The evolution of the Autorenfilm in both countries between the 1960s and the 1980s in comparison to other national cinemas - The relationship of filmmakers toward the the question of national identity - Analysis of artistic aspects, motivs, themes and filmic language in the films with regard to the cultural history background in the Georgia and Westgermany. - Interviews with West German and Georgian filmmakers - Comparison of selected West German and Georgian films A filmography and a list of literature is included in the thesis.

Cette thèse a pour objectif de montrer en quoi l'automobile est un motif du cinéma allemand et d'en proposer une étude, à partir d'un corpus constitué de cinq films. Ce faisant, ce sont aussi les premiers jalons pour une théorie esthétique de l'automobile au cinéma qui sont posés, à l'exemple du cinéma allemand. Une première partie médiologique et esthétique montrera que l’automobile est un motif réflexif du cinéma, c’est-à-dire un motif par lequel le cinéma se réfléchit et réfléchit sur lui-même, en tant qu'art et en tant que médium. Tour à tour reflet du cinéma ou de caméra, appareil de projection ou d'enregistrement, la voiture apparaît comme un motif à travers lequel le cinéma se met en abyme. La deuxième partie étudie l’automobile comme motif narratif. La voiture, dans sa dimension réflexive, peut apparaître comme un signe énonciatif, ce qui permet, entre autres, d'aborder la question du narrateur au cinéma. Mais la voiture est aussi un objet matériel chargé d'un fort potentiel narratif. En outre, l'automobile est aussi un motif structurant pour un récit filmique (par exemple dans le road movie), dans la mesure où un trajet en voiture peut apparaître comme un segment minimal de narration filmique. Le motif automobile induit ainsi la construction d'un espace filmique qui pose, en creux, la question du cinéma national. La troisième partie aborde le motif automobile à travers les notions de personnage, de stéréotype et de genre cinématographique. L'automobile est liée à certains stéréotypes de genre, notamment parce qu'elle en général principalement associée aux personnages masculins. La question du genre permet de passer de la notion de gender à celle de genre cinématographique. L'automobile est-elle caractéristique de certains genres? On pense évidemment au road movie, mais force est de constater que l'automobile ressurgit dans tous les genres et à toutes les époques – au point de se demander si elle ne serait pas, finalement, un stéréotype du cinéma. / This thesis aims to prove that the automobile is what we might call a motif in German Cinema and studies this motif in a corpus of five films. It thus also proposes, on the basis of this exemplary study of German Cinema, to lay the groundwork for a general aesthetics of the automobile in film. The first part will take an aesthetic and mediological approach, to argue that the link between the automobile and cinema is a reflexive one. Through the motif of the automobile, the cinema very often points the finger at itself. Furthermore, the car as a machine evokes the machinery of the cinema: the wheel recalls the projector’s wheel, the ribbon of the road evokes the unfurling reel of film, and the different mirrors and window hint at the lens of the camera – a camera that is driven from place to place. Finally, the car’s interior is comparable to a movie theatre: both have a screen, both offer a perspective on the world while isolating and protecting the viewer from this world. The second part of the thesis deals with aspects of filmic narration. As a reflexive motif, the car can be interpreted as an enunciative sign, that is to say a place for the film’s enunciation. The car is also an object (a prop or a piece of the set), whose materiality brings a stratum of narrativity into the film. Moreover, the car, with its trajectory interrupted by accidents or breaking down, often offers a pattern for the film’s narrative. Thus, the motif of the car implies a strong relationship to space, which suggests a new way of approaching the question of the definition of a “national cinema”. The third part links the motif of the automobile to the notions of characters, stereotype and film genre. The automobile has to deal with gender stereotypes, in particular because it is generally strongly related to men. But the concept of “genre” also establishes a relation between “gender” and “(film) genre”. Is the motif of the automobile typical of certain film genres? It seems to be omnipresent in all periods and genres (and certainly not only in road movies), so it might even be said that the automobile is, ultimately, a cinematic stereotype. / Ziel der Dissertation ist es zu zeigen, dass das Automobil ein Motiv des deutschen Films ist und eine Analyse dieses Motivs am Beispiel eines aus fünf Filmen bestehenden Korpus vorzulegen. Dabei geht es auch darum, die ersten Ansätze zu einer ästhetischen Theorie des Autos als filmischen Motivs zu entwickeln. In einem ersten Teil medienwissenschaftlicher und ästhetischer Ausrichtung wird vorgebracht, dass dem Auto im Kino die Rolle eines Motivs der Reflexivität zukommt. Der Wagen kann als eine Kinokammer betrachtet werden, während die Maschinerie des Autos an die Maschinerie des Projektors erinnert. Mit dem Motiv des Autos reflektiert das Kino sich selbst und über sich selbst – als Kunst und als Medium. Diese These bildet die theoretische Grundlage der Arbeit und rechtfertigt die Wahl des Themas. Im zweiten Teil wird das Auto unter dem Gesichtspunkt der filmischen Narration analysiert. In seiner reflexiven Dimension erscheint das Auto als ein „enunziatives Zeichen“, womit ein neues Licht auf die Frage des filmischen Erzählers geworfen werden kann. Das Auto kann in mehrfacher Hinsicht die filmische Erzählung untermauern: Als Fortbewegungsmittel, das einen Kurs bestimmt – wie etwa in Roadmovies – aber auch als materieller Gegenstand, der zur Kulisse wird oder als Besitz der Figuren zum symbolischen Attribut der Figuren wird. Im dritten Teil wird das Motiv des Autos mit Blick auf die Begriffe „Figuren“, „Stereotyp“ und „Genre“ in Betracht genommen. Das Auto ist mit bestimmten Gender-Stereotypen verbunden, da es oft mit männlichen Figuren assoziiert wird. Der Begriff des Stereotyps bietet hier die Möglichkeit, eine Brücke zwischen Gender und (Film-)Genre zu schlagen. Ist das Motiv des Autos typisch für gewisse Filmgenres? Man assoziiert es sogleich mit dem Roadmovie, aber es muss auch festgestellt werden, dass das Auto in allen Genres und in allen Epochen immer wieder vorkommt, so dass schließlich gefragt werden darf, ob das Auto nicht selbst ein Filmstereotyp sei.