Gender transformations and religion in an integration comedy: der Hodscha und die Piepenkötter
This study focuses on a post-migrant German-Turkish film, Der Hodscha und die Piepenkötter (Buket Alakuş, 2016), regarding gender and religious representations. Approximately twenty-five per cent of the population in Germany has a migration background, and the largest minority religion is Islam, as...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill, Nijhoff
2023
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| In: |
Religion and human rights
Year: 2023, Volume: 18, Issue: 3, Pages: 156-171 |
| Online Access: |
Volltext (Resolving-System) |
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| 520 | |a This study focuses on a post-migrant German-Turkish film, Der Hodscha und die Piepenkötter (Buket Alakuş, 2016), regarding gender and religious representations. Approximately twenty-five per cent of the population in Germany has a migration background, and the largest minority religion is Islam, as the number of Muslims increased with Turkish-German labour migration. Gender equality, wearing headscarves, and building sacred places (mosques) are featured in German films from time to time. Some films offer perspectives built on prejudices and stereotypes at the intersection of religion, migration, and gender, while others do not or do so to a lesser extent. In this article, we review the relevant film studies literature to see if there has been a transformation and then explore portrayals in a selected film through discourse analysis. The findings reveal that in Der Hodscha und die Piepenkötter, women contribute significantly to realising certain religious rights, and devout Muslims are portrayed as culturally heterogeneous. | ||
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| 601 | |a Religion | ||
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