Abstract:

Sudabeh Mortezai's acclaimed 2014 film Macondo, which is set in the eponymous refugee housing settlement near Vienna, depicts the coming-of-age story of a young Chechen refugee struggling with his transition to maturity, misconceptions about his deceased father, and the arrival of his father's comrade, all while his family awaits asylum. This article contends that the film engages in an intertextual dialogue with François Truffaut's The 400 Blows. Establishing this relationship as an appropriation demonstrates how Mortezai draws on Truffaut's seminal work to authenticate her debut feature, to place it in a larger cinematic tradition, and to open a space for reflection on the contemporary context of migration and integration in Austria. A close reading of key scenes re-imagined in Mortezai's film illustrates how their deviations from Truffaut call attention both to the problematic circumstances facing refugeesnand to the limits of her appropriation.

摘要：

Sudabeh Mortezai于2014年获得好评的电影Macondo放映在维也纳附近同名的难民住房中，描绘了一个年轻的车臣难民苦苦挣扎地走向成熟，对已故父亲的误解以及他的到来的成年故事。父亲的战友，而他的家人正在等待庇护。本文认为这部电影与弗朗索瓦·特鲁弗（FrançoisTruffaut）的《四百个打击》进行了互文对话。建立这种关系作为专有权，这说明了Mortezai如何利用Truffaut的开创性作品来验证她的处女作，将其置于更大的电影传统中，并为反思奥地利的移民和融合的当代情境提供了空间。对Mortezai影片中重新构想的关键场景的仔细阅读，说明了他们与Truffaut的背离如何引起人们对难民面临的问题环境和她的拨款范围的关注。