Turkish German Cinema in the New Millennium

This collection of essays significantly contributes to reimagining Turkish German cultural productions as part of a larger conversation on world cinema, global, and diaspora studies, without losing sight of the historical and cultural specificity of places and spaces in which culture is produced. German Studies Review With its multiplicity of topics this varied volume contributes much to the promising study of Turkish German cinema, and more general: migrant cinema. [This volume] does not only show how much research there has already been done, but also how much work remains to be done. Historical Journal of Film, Radio and Television [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 spectatorshipin its attention to a variety of media and genres, theoretical frameworks, institutional contexts, and its rare inclusion of perspectives from outside GermanyThe 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

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

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 Aladas 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 Akns We Forgot to Go Back Angelica Fenner Chapter 5. Gendered Kicks: Buket Alakuss and Aysun Bademsoys Soccer Films Ingeborg Majer-OSickey Chapter 6. Location and Mobility in Kutlu Atamans Site-specific Video Installation Kba Nilgun Bayraktar Chapter 7. Turkish for Beginners: Teaching Cosmopolitanism to Germans Brent Peterson Chapter 8. Only the Wounded Honor Fights: Zli Aladas 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 Kurtulu and Birol nel: Sexualized Masculinities, Normalized Ethnicities Berna Gueneli Chapter 11. The Perception and Marketing of Fatih Akn in the German Press Karolin Machtans Chapter 12. Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press Aya Tun Cox PART IV: THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND Chapter 13. Cosmopolitan Filmmaking: Fatih Akns In July and Head-On Mine Eren Chapter 14. Remixing Hamburg: Transnationalism in Fatih Akns Soul Kitchen Roger Hillman and Vivien Silvey Chapter 15. World Cinema Goes Digital: Looking at Europe from the Other Shore Deniz Gktrk Notes on Contributors Works Cited Index of Names Index of Films