Abstract
This article considers how, in The Hairdresser ( Die Friseuse , 2010), Doris Dorrie exposes the normalizing biopolitics of the Berlin Republic by offering an intersectional approach to thinking about discrimination in Germany and by establishing similarities between her white female protagonist and ethnic minorities. I examine how Dorrie employs ethnic minorities for her narrative by comparing The Hairdresser with Rainer Werner Fassbinder’s Ali: Fear Eats the Soul ( Angst essen Seele auf , 1974), another film with an intersectional approach to depicting discrimination in Germany and one that is implicitly referenced by Dorrie’s cinematography. I argue that although Dorrie’s film could be viewed as advancing the discussion on discrimination in Germany by considering the intersection of additional categories such as disability and citizenship, her film is inhibited by neoliberal tendencies, its comedic genre conventions, Dorrie’s wish to establish an easy solidarity between Germans and ethnic Others, and her attempts to forge audience identification with the protagonist.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
