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TURKISH GERMAN CINEMA IN THE NEW MILLENNIUM

Sites, Sounds, and Screens

Edited by Sabine Hake and Barbara Mennel

260 pages, 33 illus., bibliog., index

ISBN  978-0-85745-768-4 $120.00/£75.00 Hb Published (October 2012)

ISBN  978-1-78238-665-0 $34.95/£22.00 Pb Published (September 2014)

eISBN 978-0-85745-769-1 eBook


Hb Pb
 

[This book] …breaks new ground in film-theoretical approaches to the field and points the way to future avenues of investigation. Particularly refreshing are chapters that take account of how Turkish German film intersects with new forms of spectatorship…in its attention to a variety of media and genres, theoretical frameworks, institutional contexts, and its rare inclusion of perspectives from outside Germany…The volume pushes the boundaries of existing scholarship. More than just a survey, it offers productive models for future studies in the field.”  ·  German Quarterly

"This volume presents an impressive array of essays ... which will be essential reading in German and European culture programs, cinema studies, and minority/diasporic culture studies.  The collection emphasizes not only the variety of cultural products here summarized under “Turkish German cinema,” ... but also methodological diversity."  ·  Katrin Sieg, Georgetown University

"I believe [this volume] is going to be a genuine contribution to a very lively yet underresearched area of film studies. [It] will serve as a rich model for scholarly study in film departments, as well as appealing to a wide range of readers, particularly inter- and multi- disciplinary minded scholars."  ·  Nezih Erdogan, Izmir University of Economics

In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape.  Self-confident, articulate, and dynamic, these films situate themselves in the global exchange of cinematic images, citing and rewriting American gangster narratives, Kung Fu action films, and paralleling other emergent European minority cinemas. This, the first book-length study on the topic, will function as an introduction to this emergent and growing cinema and offer a survey of important films and directors of the last two decades. In addition, it intervenes in the theoretical debates about Turkish German culture by engaging with different methodological approaches that originate in film studies.

Sabine Hake is the Texas Chair of German Literature and Culture at the University of Texas at Austin.

Barbara Mennel is Associate Professor of German Studies and Film and Media Studies at the University of Florida, Gainesville.

Series: Volume 13, Film Europa


LC: PN1993.5.G3T86 2012

BL: YK.2013.a.16441

BISAC: PER004030 PERFORMING ARTS/Film & Video/History & Criticism; PER004000 PERFORMING ARTS/Film & Video/General; ART057000 ART/Film & Video

BIC: APFA Film theory & criticism



Contents

Introduction

PART I: CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES

Chapter 1. My Big Fat Turkish Wedding: From Culture Clash to Romcom
Daniela Berghahn

Chapter 2. The Oblivion of Influence: Transmigration, Tropology, and Myth-Makingin Feo Aladağ’s When We Leave
David Gramling

Chapter 3. The Minor Cinema of Thomas Arslan: A Prolegomenon
Marco Abel

PART II: MULTIPLE SCREENS AND PLATFORMS: FROM DCOUMENTARY AND TELEVISION TO INSTALLATION ART

Chapter 4. Roots and Routes of the Diasporic Documentarian: A Psychogeography of Fatih Akın’s We Forgot to Go Back
Angelica Fenner

Chapter 5. Gendered Kicks: Buket Alakus’s and Aysun Bademsoy’s Soccer Films
Ingeborg Majer-O’Sickey

Chapter 6. Location and Mobility in Kutluğ Ataman’s Site-specific Video Installation Küba
Nilgun Bayraktar

Chapter 7. Turkish for Beginners: Teaching Cosmopolitanism to Germans
Brent Peterson

Chapter 8. “Only the Wounded Honor Fights”: Züli Aladağ’s Rageand the Drama of the Turkish German Perpetrator
Brad Prager

PART III: INSTITUTIONAL CONTEXTS: STARS, THEATRES, AND RECEPTON

Chapter 9. The German Turkish Spectator and Turkish Language Film Programming: Karli-Kino, Maxximum Distribution, and the Interzone Cinema
Randall Halle

Chapter 10. Mehmet Kurtuluş and Birol Ünel: Sexualized Masculinities, Normalized Ethnicities
Berna Gueneli

Chapter 11. The Perception and Marketing of Fatih Akın in the German Press
Karolin Machtans

Chapter 12. Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press
Ayça Tunç Cox

PART IV: THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND

Chapter 13. Cosmopolitan Filmmaking: Fatih Akın’s In July and Head-On
Mine Eren

Chapter 14. Remixing Hamburg: Transnationalism in Fatih Akın’s Soul Kitchen
Roger Hillman and Vivien Silvey

Chapter 15. World Cinema Goes Digital: Looking at Europe from the Other Shore
Deniz Göktürk

Notes on Contributors
Works Cited
Index of Names
Index of Films

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