Turkish German Cinema in the New Millennium : : Sites, Sounds, and Screens / / ed. by Sabine Hake, Barbara Mennel.

• Superior document: Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2000-2013
• MitwirkendeR: Abel, Marco,; Bayraktar, Nilgün,; Berghahn, Daniela,; Eren, Mine,; Fenner, Angelica,; Gramling, David,; Gueneli, Berna,; Göktürk, Deniz,; Hake, Sabine,; Halle, Randall,; Hillman, Roger,; Machtans, Karolin,; Majer-O’Sickey, Ingeborg,; Mennel, Barbara,; Peterson, Brent,; Prager, Brad,; Silvey, Vivien,; Tunç Cox, Ayça,
• HerausgeberIn: Hake, Sabine,; Mennel, Barbara,
• Place / Publishing House: New York; , Oxford : : Berghahn Books, , [2012]; ©2012
• Year of Publication: 2012
• Language: English
• Series: Film Europa ; 13
• Physical Description: 1 online resource (260 p.)

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.

Table of Contents

Frontmatter -- Contents -- List of Illustrations -- Introduction -- I CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES -- Chapter 1 My Big Fat Turkish Wedding: From Culture Clash to Romcom -- Chapter 2 The Oblivion of Influence: Mythical Realism in Feo Aladağ’s When We Leave -- Chapter 3 The Minor Cinema of Thomas Arslan: A Prolegomenon -- II MULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY 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 -- Chapter 5 Gendered Kicks: Buket Alakuş’s and Aysun Bademsoy’s Soccer Films -- Chapter 6 Location and Mobility in Kutluğ Ataman’s Site-specific Video Installation Küba -- Chapter 7 Turkish for Beginners: Teaching Cosmopolitanism to Germans -- Chapter 8 “Only the Wounded Honor Fights”: Züli Aladağ’s Rage and the Drama of the Turkish German Perpetrator -- III INSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION -- Chapter 9 The German Turkish Spect ator and Turkish Language Film Programming: Karli Kino, Maxximum Distribution, and the Interzone Cinema -- Chapter 10 Mehmet Kurtuluş and Birol Ünel: Sexualized Masculinities, Normalized Ethnicities -- Chapter 11 The Perception and Marketing of Fatih Akın in the German Press -- Chapter 12 Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press -- IV THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND -- Chapter 13 Cosmopolitan Filmmaking: Fatih Akın’s In July and Head-On -- Chapter 14 Remixing Hamburg: Transnationalism in Fatih Akın’s Soul Kitchen -- Chapter 15 World Cinema Goes Digital: Looking at Europe from the Other Shore -- Notes on Contributors -- Works Cited -- Index of Names -- Index of Films