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Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens

A Brief History of Labor Migration: From Guestworker to Fellow Citizen with Migration Background The Making of Turkish German Cinema Turkish German (Film) Studies: Intersecting Fields, Emerging Paradigms Turkish German Cinema on Multiple Screens: Theoretical Interventions and Institutional Frameworks Note CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES My Big Fat Turkish Wedding: From Culture Clash to Romcom The Oblivion of Influence: Mythical Realism in Feo Aladag's When We Leave Realism in the Service of Myth The Poverty of Mythic Realism The Iconography of Witness Notes The Minor Cinema of Thomas Arslan: A Prolegomenon Prologue Differences Change The Strangeness of Change Materialist Cinema MULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY AND TELEVISION TO INSTALLATION ART Roots and Routes of the Diasporic Documentarian: A Psychogeography of Fatih Akin's We Forgot to Go Back Gendered Kicks: Buket Alaku§'s and Aysun Bademsoy's Soccer Films Transformative Film Praxis The Back Story The Cinematic Gaze The Recalibrated Gaze in Offside The Deep Look of Documentary: Committed Filmmaking Conclusion Notes Location and Mobility in Kutlug Ataman's Site-specific Video Installation Kuba Turkish for Beginners: Teaching Cosmopolitanism to Germans "Only the Wounded Honor Fights": Zuli Aladag's Rage and the Drama of the Turkish German Perpetrator INSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION The German Turkish Spectator and Turkish Language Film Programming: Karli Kino, Maxximum Distribution, and the Interzone Cinema Brussels in Beyoglu Beyoglu in Berlin The Survey Note Mehmet Kurtulus and Birol Unel: Sexualized Masculinities, Normalized Ethnicities Normalized Ethnicity—Sexualized Body: Mehmet Kurtulus Ethnic Body—Eccentric Physicality: Birol Unel Conclusion Notes The Perception and Marketing of Fatih Akin in the German Press Turkish German Film and the "Normalization" of the Berlin Republic Early Films: Kurz und schmerzlos (Short Sharp Shock, 1998), Im Juli (In July, 2000), and Solino (2002)The Breakthrough: Head-On Crossing the Bridge: The Sound of Istanbul The Edge of Heaven Soul Kitchen "I Don't Care What People Think of Me": Fatih Akin's Self-staging in the Media Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press Filmmakers or Diplomatic Ambassadors?The Ceaseless Battle of Inclusion and Exclusion Notes THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND Cosmopolitan Filmmaking: Fatih Akin's In July and Head-On Media Globalization The Cosmopolitan Europe of In July "And Yet My Heart is Still Turkish" - Arabesk in Head-On1 Conclusion Notes Remixing Hamburg: Transnationalism in Fatih Akin's Soul Kitchen Just for Starters Soul Searching: Transnational Musical Markers Ingredients of Comedy Cinematic Intertextuality World Cinema Goes Digital: Looking at Europe from the Other Shore The Sound of Nuclear Disaster Looking Outside the Frame Journey to the Black Sea Unexpected Kinships Screening the Region in the World Notes Notes on Contributors Works Cited

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The Making of Turkish German Cinema
Film professionals work within existing frameworks of culture and industry and present their artistic visions against prevailing political, economic, and discursive horizons. However, they also create new modes of production, develop innovative ways of seeing, and inspire new aesthetic styles and sensibilities....
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Turkish German Cinema on Multiple Screens: Theoretical Interventions and Institutional Frameworks
In this volume, we propose to move beyond the traditional focus on representation and signification to approach Turkish German cinema as part of a long history of film professionals in German and European cinema with a migration background. The connection between the transnational as a function of film...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press
The success of Turkish German filmmaker Fatih Akin initiated new debates on the identity of Turkish diasporic filmmakers in Germany. While star director Akin and other Turkish German filmmakers have been celebrated in the German media with the slogan "the new German cinema is Turkish," the Turkish media...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Turkish German (Film) Studies: Intersecting Fields, Emerging Paradigms
Scholarship on Turkish German cinema has changed greatly in response to the explosion of films since the mid-1990s; the resultant disagreements and contradictions are an integral part of this process. Thus one of the first German-language publications on the subject, the 1995 anthology "Geturkte Bilder":...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
"Only the Wounded Honor Fights": Zuli Aladag's Rage and the Drama of the Turkish German Perpetrator
The television film Wut (Rage, 2006) was first scheduled to air at 8:15 pm on Wednesday evening, 27 September 2006 on the public broadcast station ARD. Following the initial announcement, however, the schedule was amended. ARD had postponed the film's airing until a later slot on Friday 29 September...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Turkish German Film and the "Normalization" of the Berlin Republic
Although in the early 1990s the discourses of German normality and Leitkultur (dominant culture) were still primarily associated with conservative politicians and intellectuals and their call for a historicization of the German past, by the beginning of the new millennium, the call for a more...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
The German Turkish Spectator and Turkish Language Film Programming: Karli Kino, Maxximum Distribution, and the Interzone Cinema
Much research has been done on the Turkish German image projected onto the screen, or about the background of the auteurs who produce such images. Little work has been done on the institution of Turkish German cinema, its conditions of production, distribution, and display. Although Martin Hagemann,...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Turkish for Beginners: Teaching Cosmopolitanism to Germans
The title of the award-winning German television series Turkisch fur Anfanger (Turkish for Beginners) might remind older viewers of the 1982 program Englisch fur Anfanger (English for Beginners). Aided by two British actors, that show's host presented a series of skits designed to teach...
(Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens)
Cinema as a Site for Articulating the Popular Image of the Military Hero in the Aftermath of the 1952 Revolution
I argue here that cinema (alongside radio and TV) is one of the main sites where the popular imagination has been shaped, specifically in regard to our discussion about the heroic and patriotic army officer, soldier, conscript and freedom fighter. In the following discussion I address cinematic representations...
(The Egyptian Military in Popular Culture: Context and Critique)
Crossing Continents: A Critical Discourse Analytic Study of the Transfer of South African Young Adult Texts into French and German
Judith Inggs University of the Witivatersrand, Johannesburg Literature for young adults traditionally reflects their preoccupations and challenges. It is also an important indicator of social change as the protagonists negotiate a sense of identity and position of power within the institutions...
(African Perspectives on Literary Translation)