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Earlier versions of this paper were presented at the following conferences: "Film Transnational: Europaische und amerikanische Perspektiven," Universitat Gottingen (1819 July 2008); "Evenementalisierung der Kultur," Universitat Konstanz (10-11 December 2008); "Culture, Politics and Performativity: Cinemas of the Middle East and South Asia," University of California Davis, Middle East/South Asia Studies Program and Film Studies Program (15-16 March 2009), and as an invited lecture at the Center for European Studies of the University of Florida, Gainesville (11 September 2009). I am grateful to the organizers and participants of these events for inspiring discussions. In particular, I would like to thank Nilgun Bayraktar, Peter Kramer, Andreas Langenohl, and Barbara Mennel for reading and commenting on earlier versions of this text. For the published German version, see Ezli (2010). Nicholas Baer helped with translation into English and with good suggestions.

  • 1. See http://worldcinemafoundation.net/filmmakers-board.
  • 2. In his critique of the film in the Turkish daily paper Cumhuriyet, Vecdi Sayar writes that Akin views Turkey "from the other side" (play on the German title Auf der anderen Seite) and appeals to the bad conscience of Western intellectuals. See Vecdi Sayar, "Cannes'in Kiyisinda," Cumhuriyet (25 May 2007), quoted in Donmez-Colin (2008: 78).
  • 3. The Edge of Heaven thus presents a take on Chernobyl as a key reference in our comprehension of the fateful entanglements of globalization. However, rather than confirming Ulrich Beck's theory of globalization as an overbearing force of homogenization, the film compares better to Christa Wolf's narrative Storfall: Nachrichten eines Tages (Accident: A Day's News: A Novel, 1987), which, like the first version of Beck's essay, was also published shortly after the event. Wolf resists and complicates the homogenizing perception of the overbearing cloud with place-bound experiences, fragmentary personal memories, and intertextual resonances. Life in the modern world thus appears inextricably entangled with news from elsewhere and long-distance communications, despite practical, sensory, and ideational moorings in one place. On Chernobyl and Wolf's book see also Heise (2008: 178-203).
  • 4. Translations from the bonus materials in the following are Nicholas Baer's.
  • 5. http://www.youtube.com/watch?v=dWOjNcDioH0. Ironically, the video sharing site YouTube has been closed in Turkey by a court ruling since 7 March 2007. However, users are finding ways of circumventing the ban.
  • 6. Some of these clips have found over a million viewers on YouTube: http: //www.youtube. com/watch?v=5yYx0k08_q0.
  • 7. Kazim Koyuncu. Viya! CD. Istanbul: Metropol Muzik, 2001.
  • 8. Stefan Hantel took a liking to Istanbul and shot a music video there, "Disco Partizani," a wild vision of Eastern European presence, migration, and fantastic mobility, which culminates on a flying carpet that sails by a luxury cruise ship: http://www.youtube. com/watch?v=gViaOYgV8yI and http://www.bucovina.de.
  • 9. See http://www.youtube.com/watch?v=Vst61GIt11A.
  • 10. See http://geobodies.org/01_art_and_videos/2005_black_sea_files/.
  • 11. Ya§amin Kiyisinda also is the Turkish release title for Martin Scorsese's film Bringing out the Dead (1999). Fatih Akin emphasized repeatedly that Scorsese has been a role model for him as a filmmaker (Ranze 2002).
  • 12. Garbage in the Garden of Eden according to the Internet Movie Database is currently in postproduction: http://www.imdb.com/title/tt1205487 and http://www.fatih4cam burnu.com. See also Seibert (2007) and Brodde and Rigos (2007).
 
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