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


A Brief History of Labor Migration: From Guestworker to Fellow Citizen with Migration BackgroundThe Making of Turkish German CinemaTurkish German (Film) Studies: Intersecting Fields, Emerging ParadigmsTurkish German Cinema on Multiple Screens: Theoretical Interventions and Institutional FrameworksNoteCONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIESMy Big Fat Turkish Wedding: From Culture Clash to RomcomThe Oblivion of Influence: Mythical Realism in Feo Aladag's When We LeaveRealism in the Service of MythThe Poverty of Mythic RealismThe Iconography of WitnessNotesThe Minor Cinema of Thomas Arslan: A ProlegomenonPrologueDifferencesChangeThe Strangeness of ChangeMaterialist CinemaMULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY AND TELEVISION TO INSTALLATION ARTRoots and Routes of the Diasporic Documentarian: A Psychogeography of Fatih Akin's We Forgot to Go BackGendered Kicks: Buket Alaku§'s and Aysun Bademsoy's Soccer FilmsTransformative Film PraxisThe Back StoryThe Cinematic GazeThe Recalibrated Gaze in OffsideThe Deep Look of Documentary: Committed FilmmakingConclusionNotesLocation and Mobility in Kutlug Ataman's Site-specific Video Installation KubaTurkish for Beginners: Teaching Cosmopolitanism to Germans"Only the Wounded Honor Fights": Zuli Aladag's Rage and the Drama of the Turkish German PerpetratorINSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION The German Turkish Spectator and Turkish Language Film Programming: Karli Kino, Maxximum Distribution, and the Interzone CinemaBrussels in BeyogluBeyoglu in BerlinThe SurveyNoteMehmet Kurtulus and Birol Unel: Sexualized Masculinities, Normalized EthnicitiesNormalized Ethnicity—Sexualized Body: Mehmet KurtulusEthnic Body—Eccentric Physicality: Birol UnelConclusionNotesThe Perception and Marketing of Fatih Akin in the German PressTurkish German Film and the "Normalization" of the Berlin RepublicEarly Films: Kurz und schmerzlos (Short Sharp Shock, 1998), Im Juli (In July, 2000), and Solino (2002)The Breakthrough: Head-OnCrossing the Bridge: The Sound of IstanbulThe Edge of HeavenSoul Kitchen"I Don't Care What People Think of Me": Fatih Akin's Self-staging in the MediaHyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily PressFilmmakers or Diplomatic Ambassadors?The Ceaseless Battle of Inclusion and ExclusionNotesTHE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYONDCosmopolitan Filmmaking: Fatih Akin's In July and Head-OnMedia GlobalizationThe Cosmopolitan Europe of In July"And Yet My Heart is Still Turkish" - Arabesk in Head-On1ConclusionNotesRemixing Hamburg: Transnationalism in Fatih Akin's Soul KitchenJust for StartersSoul Searching: Transnational Musical MarkersIngredients of ComedyCinematic IntertextualityWorld Cinema Goes Digital: Looking at Europe from the Other ShoreThe Sound of Nuclear DisasterLooking Outside the FrameJourney to the Black SeaUnexpected KinshipsScreening the Region in the WorldNotesNotes on ContributorsWorks Cited
 
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