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

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

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 rew...

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Bibliographic Details
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
Online Access:
Physical Description:1 online resource (260 p.)
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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

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