You are here

Home » Content

Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level

Journal Name:

  • İstanbul Üniversitesi Alman Dili ve Edebiyatı Dergisi

Publication Year:

  • 2010
Author NameUniversity of Author
Abstract (2. Language): 
In this paper I discuss how the films Andrea Staka‟s Fräulein and Yilmaz Arlslan‟s Brudermord explore the themes of ‚nationality„ and ‚postnationality„, both in terms of film-story content as well as film production. Fräulein presents the development of two immigrant characters who successfully realize a new home in Zurich out of a lack of home, when they are able to see their mother country and their host country not as binary opposites, but as an intercultural place within themselves. Brudermord criticizes Germany as anything but the promised land for those seeking a new home, but places the blame on both the host and the immigrant communities for stubbornly replicating and maintaining old boundaries, instead of adapting and working toward a necessary intercultural third reality. In addition, as evidenced by the multinational production teams of both films, these films self-reflectively create such an intercultural space in the process o making the films as well as in the film products themselves.
Bookmark/Search this post with
FULL TEXT (PDF): 
PDF icon 6.pdf
  • 24
103-115
  • English

REFERENCES

References: 

Adelson, Leslie A. (1994): „Opposing Oppositions: Turkish-German Questions in
Contemporary German Studies“. German Studies Review, 17 (2), 305-330.
Bayer, Gerd (2004): „Theory as Hierarchy: Positioning German ‚Migrantenliteratur‟”.
Monatshefte 96 (1), 1-19.
Berghahn, Daniela (2006): „No place like home? Or impossible homecomings in the
films of Fatih Akin“ New Cinemas: Journal of Contemporary Film 4 (3), 141 -157.
Birnbaum, Pierre / Strong, Tracy B. (1996): „From Multiculturalism to Nationalism“.
Political Theory 24 (1), 33-45.
Burns, Rob (2007a): „Towards a Cinema of Cultural Hybridity: Turkish- German
Filmmakers and the Representation of Alterity“. Debatte 15 (1), 3-24.
Burns, Rob (2007b): „The Politics of Cultural Representation: Turkish–German
Encounters“. German Politics 16 (3), 358–378.
Cheesman, Tom (2004): „Talking ‚Kanak‟: Zaimoğlu contra Leitkultur“. New German
Critique 92, Special Issue on: Multicultural Germany: Art, Performance and Media.
Ewing, Katherine Pratt (2006): „Between Cinema and Social Work: Diasporic
Turkish Women and the (Dis)Pleasures of Hybridity“. Cultural Anthropology, 21
(2), 265–294.
Fachinger, Petra (2007): „A New Kind Of Creative Energy: Yadé Kara‟s Selam Berlin
and Fatih Akin‟s Kurz und Schmerzlos and Gegen die Wand“. German Life and
Letters, 60 (2), 243-260.
Fenner, Angelica (2000): „Turkish Cinema in the New Europe: Visualizing Ethnic
Conflict in Sinan Cetin‟s Berlin in Berlin“. Camera Obscura 44 (15/2), 104-149.
Göktürk, Deniz (2004): „Strangers in Disguise: Role-Play beyond Identity Politics in
Anarchic Film Comedy“. New German Critique 92, Special Issue on: Multicultural
Germany: Art, Performance and Media, 100-122.
Göktürk, Deniz (2002): „Beyond Paternalism: Turkish German Traffic in Cinema“.
The German Cinema Book. Ed. Tim Bergfelder / Erica Carter / Deniz Göktürk.
London: bfi, 248–56.
Model Number „in transit‟: Postnational Heimatfilm. Moving Multiculturalism to the
Next Level
115
Göktürk, Deniz (2000): „Turkish Women on German Streets: Closure and Exposure in
Transnational Cinema Spaces in European Cinema“. Ed. Myrto Konstantarakos.
Exeter and Portland: intellect, 64–76.
Göktürk, Deniz / Barbara Wolbert (2004): „Introduction“.New German Critique 92,
Special Issue on: Multicultural Germany: Art, Performance and Media, 3-4.
Halle, Randall (2002): „German Film, Aufgehoben: Ensembles of Transnational
Cinema“. New German Critique 87, Special Issue on Postwall Cinema, 7- 46.
Karanfil, Gökçen (2006): „Becoming Undone: Contesting Nationalisms in
Contemporary Turkish Popular Cinema“. National Identities 8 (1), 61- 75.
Kingsley, Simon (2005): „Young Turks Crash Movie Party“. Variety, Jun 20-Jun 26,
399, 5.
Larkey, Uta (2008): „New Places, New Identities. The (Ever) Changing Concept of
Heimat“. German Politics and Society 87 (26/2).
Mennel, Barbara (2004): „The New Paradigms of German Film Studies“. German
Politics and Society 70 (22/1), 53-62.
Miller, Arthur (2003): „Unlocking the Secrets of Cultures“. TDR (1988)47 (1), 5-7.
Monceau, Nicola (2001): „Confronting Turkey's Social Realities: An Interview with
Yesim Ustaoglu“. Cineaste 26 (3).
Naficy, Hamid (2006): „Making Films with an Accent: Iranian Émigré Cinema“.
Cineaste 31 (3), 42-44.
Neyzi, Leyla (2002): „Remembering to Forget: Sabbateanism, National Identity, and
Subjectivity in Turkey“. Comparative Studies in Society and History 44, (1), 137-
158.
Rinblom, Harald (1994): „Swedish Multiculturalism in a Comparative European
Perspective“ Sociological Forum 9 (4), Special Issue: Multiculturalism and
Diversity, 623-640.
Scharf, Inga (2004): „Narratives of Transformation and Resistance: A Cultural Studies
Approach Towards a Critical Understanding of the New German Cinema“.
Capital and Class 84, 129-138.
Takaki, Ronald (1993): „Multiculturalism: Battleground or Meeting Ground?“. Annals
of the American Academy of Political and Social Science, 530, Interminority Affairs
in the U. S.: Pluralism at the Crossroads, 109-121.
Wax, Murray L. (1993): „How Culture Misdirects Multiculturalism“. Anthropology &
Education Quarterly 24 (2), 99-115.
Worbs, Susanne (2003): „The Second Generation in Germany: Between School and
Labor Market“ International Migration Review, 37 (4), The Future of the Second
Generation: The Integration of Migrant Youth in Six European Countries, 1011-
1038.

Thank you for copying data from http://www.arastirmax.com