Mavi Boncuk |Turkish German Cinema in the New Millennium by Sabine Hake[1]
Edited by Sabine Hake Edited by Barbara Mennel
ISBN-139781782386650
SeriesFilm EuropaFormat Paperback,
Publisher Berghahn Books
Publication dateSep 10, 2014
Pages 260
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.
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 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 Kuba Nilgun Bayraktar
Chapter 7. Turkish for Beginners: Teaching Cosmopolitanism to Germans Brent Peterson
Chapter 8. "Only the Wounded Honor Fights": Zuli 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 Unel: 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 Ayca Tunc 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 Gokturk
Notes on Contributors Works Cited
Index of Names
Index of Films
[1] Sabine Hake is Professor and Texas Chair of German Literature and Culture in the Department of Germanic Studies at The University of Texas at Austin where she has been since 2004; she previously taught at Bryn Mawr College and the University of Pittsburgh. A cultural historian working on nineteenth and twentieth century Germany, with a special emphasis on film, she is the author of six monographs, including German National Cinema (2008, second revised edition), Topographies of Class: Modern Architecture and Mass Society in Weimar Berlin (2008), and Screen Nazis: Cinema, History, and Democracy (2012). She has coedited four anthologies and published numerous articles on various aspects of German film and media, the culture of the Weimar Republic, and the dynamics of modernism, mass culture, and modernity. Since 2011, she serves as the editor of German Studies Review, the journal of the German Studies Association. Her research has been supported by fellowships from the National Endowment of the Humanities, the National Humanities Center, the German Academic Exchange Service (DAAD), the Fulbright Scholar Program, and the Rockefeller, J. Paul Getty, and Andrew W. Mellon Foundations. In 2015-16, she spent an academic year at the Freiburg Center for Advanced Studies (FRIAS) as a EURIAS and Marie Curie Senior Fellow of the European Union.
Current Research
Prof. Hake is currently working on two book projects. The first is an interdisciplinary two-volume study on the representation of the working class in German culture and politics titled Socialism, Culture and Emotion in Germany, 1863-1989. Using proletarian identifications as a heuristic lens, the study is a contribution both to the complicated history of class and culture in modern Germany and to the ongoing theoretical debate on political emotions and the politics of emotion. The first volume, The Proletarian Dream, covers the emergence of working-class culture in Imperial Germany and the Weimar Republic and was published by De Gruyter in 2017. The second volume will deals with two political regimes with an equally strong but fundamentally different emotional investment in the working class, the Third Reich and the German Democratic Republic. The goal is not to establish a new working-class canon of writers, artists, and thinkers or add another category to the ever-expanding discursive terrain claimed by identity politics but to uncover the continuities between socialism, nationalism, fascism, and populism in the long history of modern mass mobilizations and do so through the social and political fantasies projected onto the figure of the worker and the myth of the working class.
The other book project, tentatively titled “German Cinema in the Age of Media Convergence,” is a continuation of Professor Hake’s extensive work on German film history.Conceived as a series of case studies, the book proposes to rewrite national cinema from the perspective of media convergence and, through its historical manifestations, to consider the theoretical implications for film history and media archeology (adaptation, intermediality, multimediality). Individual chapters deal with theater in early silent cinema, architecture in the expressionist film, the early sound film and recording industry, the West German revue film, the East German opera film, as well as chapters on the connections of film with radio and television and, closely related, the implications of convergence history for classical film theory and contemporary media theory.
For more information on Prof. Hake, see www.sabinehake.com