Show simple item record

dc.creatorMajor, Anne Patrick
dc.date.accessioned2012-08-02T20:25:08Z
dc.date.available2012-08-02T20:25:08Z
dc.date.created2012-05
dc.date.issued2012-08-02
dc.date.submittedMay 2012
dc.identifier.urihttp://hdl.handle.net/2152/ETD-UT-2012-05-5592
dc.descriptiontext
dc.description.abstractThis 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.
dc.format.mimetypeapplication/pdf
dc.language.isoeng
dc.subjectBahman Ghobadi
dc.subjectIranian cinema
dc.subjectKurdish cinema
dc.subjectHybrid cinema
dc.subjectTransnational cinema
dc.subjectGlobal media
dc.titleBahman Ghobadi's hyphenated cinema : an analysis of hybrid authorial strategies and cinematic aesthetics
dc.title.alternativeAnalysis of hybrid authorial strategies and cinematic aesthetics
dc.date.updated2012-08-02T20:25:14Z
dc.identifier.slug2152/ETD-UT-2012-05-5592
dc.description.departmentRadio-Television-Film
dc.type.genrethesis*
thesis.degree.departmentRadio-Television-Film
thesis.degree.disciplineRadio-Television-Film
thesis.degree.grantorUniversity of Texas at Austin
thesis.degree.levelMasters
thesis.degree.nameMaster of Arts


Files in this item

Icon

This item appears in the following Collection(s)

Show simple item record