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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…mehr
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.
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Sabine Hake is the Texas Chair of German Literature and Culture at the University of Texas at Austin.
Inhaltsangabe
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 Aladag'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 Akin'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 Kutlug 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 Aladag'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 Kurtulus and Birol Ünel: Sexualized Masculinities, Normalized Ethnicities Berna Gueneli Chapter 11. The Perception and Marketing of Fatih Akin 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 Akin's In July and Head-On Mine Eren Chapter 14. Remixing Hamburg: Transnationalism in Fatih Akin'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
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 Aladag'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 Akin'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 Kutlug 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 Aladag'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 Kurtulus and Birol Ünel: Sexualized Masculinities, Normalized Ethnicities Berna Gueneli Chapter 11. The Perception and Marketing of Fatih Akin 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 Akin's In July and Head-On Mine Eren Chapter 14. Remixing Hamburg: Transnationalism in Fatih Akin'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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