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2017 Kelenpessuto Vorig.Pdf UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS KELEN PESSUTO Made in Kurdistan: Etnoficção, infância e resistência no cinema curdo de Bahman Ghobadi São Paulo 2017 KELEN PESSUTO Made in Kurdistan: Etnoficção, infância e resistência no cinema curdo de Bahman Ghobadi Versão Original Tese apresentada à Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo como requisito parcial para a obtenção do título de Doutora em Ciências (Antropologia Social) Orientadora: Profa. Dra. Rose Satiko Gitirana Hikiji São Paulo 2017 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. PESSUTO, Kelen. Made in Kurdistan: Etnoficção, infância e resistência no cinema curdo de Bahman Ghobadi. 2017. 401 f. Tese (Doutorado em Antropologia Social) – Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2017. Aprovado em: _________ / _________/ ___________________. Banca Examinadora Prof(a). Dr(a).________________________________________________________________ Instituição_________________________________Julgamento________________________ Prof(a). Dr(a).________________________________________________________________ Instituição_________________________________Julgamento________________________ Prof(a). Dr(a).________________________________________________________________ Instituição_________________________________Julgamento________________________ Prof(a). Dr(a).________________________________________________________________ Instituição_________________________________Julgamento________________________ Prof(a). Dr(a).________________________________________________________________ Instituição_________________________________Julgamento________________________ Dedico esta tese às crianças curdas, pequenas peregrinas, que apesar de tantas desventuras têm tanto para compartilhar e ensinar. Que as bombas, a fome, a miséria e a destruição que as cercam deem lugar ao amor, ao afeto, à abundância e à paz. À memória de Mehmet Aksoy, entusiasta deste trabalho e uma grande inspiração, que perdeu a vida filmando a luta dos curdos contra o inimigo. Descanse em paz, meu amigo. Agradecimentos Agradeço, acima de tudo, à Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), processo nº 2013/09757-7, pelo financiamento desta pesquisa, o que permitiu minha dedicação exclusiva, as viagens a campo, o Estágio de Pesquisa no Exterior, que foram fundamentais para o desenvolvimento deste trabalho. Agradeço a(o) parecerista pelos valiosos apontamentos durante este período. À minha orientadora Profª Drª Rose Satiko Hikiji Gitirana, que sempre me apoiou, confiou no meu trabalho, acreditou em mim e embarcou nas minhas aventuras. Obrigada por sua orientação generosa e afetuosa! Às minhas amorinhas Gabriela e Luiza por serem inspiração e me ensinarem tanto sobre o amor, sobre a vida e o mundo. À minha irmã Tatiana pelo companheirismo. Aos meus pais (in memoriam) que são meus exemplos de determinação, força, coragem e luta. À Profª Drª Francirosy Campos Barbosa que foi quem me apresentou à antropologia, foi minha orientadora de mestrado e é uma inspiração. Obrigada pela amizade e por compartilhar sua sabedoria de forma bondosa! Ao Bahman Ghobadi, por me receber, por compartilhar seus filmes e por me apresentar o Curdistão através de seu cinema. O que se estende à sua produtora Golriz Ehtiati, que sempre foi muito prestativa. À Profª Drª Catarina Alves Costa por me aceitar no estágio supervisionado e por ser tão atenciosa. Ao Profº Drº Paulo Raposo que me adotou enquanto aluna e amiga e deu dicas preciosas para a realização deste trabalho. À Mafalda Melo Souza por toda assessoria em Portugal e pelo carinho. À Mizgin Müjde Arslan pela generosidade que sempre teve comigo, seja por compartilhar seus filmes, por me convidar para escrever um artigo em seu livro e pelo depoimento tão verdadeiro que deu para o documentário. À Mehmet Aksoy por me receber no 9th London Kurdish Film Festival, por me convidar para a festa mais importante dos curdos, o Newroz, e assim compartilhar a música e a alegria deste povo. E aos demais membros e cooperadores do Festival: Alaettin Sinayic, Ferhan Yildiz, Ari Murad e Narin Afraseab. A Shaho Nemati, que mais do que um interlocutor, virou também amigo. Obrigada por responder prontamente às minhas perguntas, por compartilhar suas fotografias e ser tão solícito. Ao garoto Sami Hossein, por toda ajuda e por mostrar que apesar de tantas adversidades é possível sorrir e ser feliz. Aos amigos lisboetas, que fizeram o meu estágio longe de casa ser um período de muitas trocas, afetos, aprendizagem e amizade: Conceição Cano, Fabrício Rocha, Darlan de Mamann Marchi, Tathiane Mattos, Rita Marrone, Arilda Arboleya, Alexandro Trindade, Renata Duran, Emiliano Dantas, Klauss Reis, Cristovão Simões, Bebel Luz, Julia Zuza, Rodrigo Lacerda, Rui Mourão, Inês Mestre e Erich Paz Galvão. Ao cineasta Pedro Costa, por me receber tantas vezes em sua produtora, pelas conversas de horas que tivemos e por ser solícito e atencioso. A todos que me receberam de braços abertos em Roma: Soran Ahmad, ao Profº Drº Adriano Rossi, o cineasta Fariborz Kamkari e à cantora e cineasta Hevi Dilara, os quais foram muito solícitos em ajudar. À querida Sá, que tanto me auxiliou em Istambul, ofereceu-me um braço amigo e solidário. Aos amigos do PPGAS, companheiros de jornada... foram tantas trocas, tanto apoio e amizade. À Ana Fiori pela atenciosa revisão e por ser inspiração. À Fabiana Andrade por me acolher em Paris, por me dar tantas dicas desde quando esta pesquisa era um projeto e pelos nossos jantares marroquinos. À Vanessa Aab por me assessorar em Frankfurt e me convidar para o "Film, Flight and Interculturality". Aos colegas dos grupos de pesquisa: GRAVI, Gracias, Napedra, Cria, Grappa, que contribuíram para a escrita desta tese com seus conselhos e dicas, sempre com ouvidos atentos e muita generosidade em compartilhar experiências e conhecimento. À Paula Morgado, sempre disposta em ajudar. Obrigada pela amizade. À Daniela Ernst por tentar me auxiliar a chegar no Iraque. À minha prima Ida Martins que carinhosamente me recebeu em Colônia e me apresentou sua produtora. Aos meus professores e amigos da FAAP, que mesmo após todos esses anos têm sido sempre presentes. À Tayla Nicoletti por me apresentar as crianças do Cambridge e por ser um ombro amigo. À Gabriela Claro por me receber em sua casa em Paris e por compartilhar o amor pelo cinema iraniano e curdo. À Juliana Lauletta por me ajudar em Londres e me ensinar mais de fotografia. Ao meu primo Fábio Tabone pela assistência. Aos familiares e amigos, que compreenderam minha ausência durante a escrita da tese, sempre apoiando e incentivando. “Pequeninos mui famintos Em tropinhas se juntavam Atraindo mais crianças Das ruínas que os cercavam. A menina de onze anos Arrastava uma de quatro, Parecia ser a mãe Só faltava o lar pacato Escapavam às batalhas E deixavam a dor pra trás, Desejavam só descanso Num país cheio de paz” Bertold Brecht1 1 BRECHT, Bertolt. A Cruzada das Crianças. Trad. Tércio Redondo, Ed. Pulo do Gato, 2015. PESSUTO, Kelen. Made in Kurdistan: Etnoficção, infância e resistência no cinema curdo de Bahman Ghobadi. 2017. 401 f. Tese (Doutorado em Antropologia Social) – Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2017. Resumo: 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. Palavras-chave: cinema curdo; etnoficção; infância; antropologia visual; Bahman Ghobadi PESSUTO, Kelen. Made in Kurdistan: Ethnofiction, childhood and resistance in Bahman Ghobadi’s Kurdish cinema. 2017. 401 pp. PhD Thesis in Social Anthropology – Faculty of Philosophy, Languages and Literature, and Human Sciences (FFLCH), University of São Paulo, São Paulo, 2017. Abstract: This thesis aims to consider the role of childhood on Bahman Ghobadi’s cinema, analyzing the movies 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). My hypothesis
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