scholarly journals Turkish German Cinema in the New Millennium

2012 ◽  
Keyword(s):  
German Cinema ◽  
New Millennium ◽  
Turkish German

Turkish German Cinema in the New Millennium: Sites, Sounds, and Screens ed. by Sabine Hake and Barbara Mennel

2015 ◽  
Vol 38 (2) ◽  
pp. 463-465
Author(s):  
Barbara Kosta
Keyword(s):  
German Cinema ◽  
New Millennium ◽  
Turkish German

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

Screen ◽  
2015 ◽  
Vol 56 (2) ◽  
pp. 286-289
Author(s):  
G. Naiboglu
Keyword(s):  
German Cinema ◽  
New Millennium ◽  
Turkish German

Turkish German Cinema in the New Millennium: sites, sounds, and screens

2015 ◽  
Vol 35 (1) ◽  
pp. 197-198
Author(s):  
Johannes De Breuker
Keyword(s):  
German Cinema ◽  
New Millennium ◽  
Turkish German

Post-Unification Turkish German Cinema

2018 ◽  
Author(s):  
Gozde Naiboglu
Keyword(s):  
German Cinema ◽  
Turkish German

No Farewell to Yesterday

2019 ◽  
pp. 218-226
Author(s):  
Alexander Kluge
Keyword(s):  
Organizational Politics ◽  
Final Demand ◽  
Short Film ◽  
Funding Agency ◽  
Film Festival ◽  
German Film ◽  
German Cinema ◽  
Film Education ◽  
History Of ◽  
New Millennium

This chapter studies Alexander Kluge's reflections on the organizational politics that gave rise to New German Cinema as seen through the uncertainty of cinema's future in the new millennium. It has been nearly fifty years since a group of young filmmakers, who up until that point had distinguished themselves only with shorts, spoke up at the Short Film Festival in Oberhausen. In their now-famous Oberhausen Manifesto they demanded a renewal of the intellectual attitude in filmmaking in a direction toward authenticity and away from commerce; an intellectual center for German film, meaning film education; and opportunities for young filmmakers to make their first films. The Kuratorium junger deutscher Film (Board for Young German Film) emerged out of the final demand with an endowment of five million marks. North Rhine-Westphalia's funding agency for short film, which formed the foundation of the Oberhausen group, added up to 800,000 marks distributed over six years. A shift in German film occurred right from the start. At that point, the history of film was seventy years old. What later grew out of the Oberhausen movement up until Rainer Werner Fassbinder's death filled a quarter of this history. This included lots of mistakes, a lot of claims to fame, variety, enthusiasm, and many works that have enriched the history of film.

Turkish-German Cinema Reconsidered

Third Text ◽  
2014 ◽  
Vol 28 (6) ◽  
pp. 507-516
Author(s):  
Barış Kılıçbay
Keyword(s):  
German Cinema ◽  
Turkish German

Turkish-German Traffic in Cinema: A Critical Review

2003 ◽  
Vol 29 ◽  
pp. 229-243 ◽  
Author(s):  
Deniz Göktürk
Keyword(s):  
Global Perspective ◽  
Border Crossings ◽  
Transnational Cinema ◽  
National Cultures ◽  
One Dimensional ◽  
Cultural Productions ◽  
German Cinema ◽  
World Cinema ◽  
The Status ◽  
Turkish German

The Turkish-German axis is not the first route that comes to mind when rethinking German cinema in a global perspective. Turks in German cinema have tended to be cast in one-dimensional roles, as victims on the margins of society, unable to communicate and integrate. After more than four decades of Turkish presence in Germany, can we finally observe a new trend in representation, focusing more on playful enactments, mutual mirroring, and border-crossings? In an era of increasing global mobility of people and media, questions about the status of transnational cultural productions by travelers, emigrants, and exiles have achieved a new intensity. Film critics, concomitantly, have begun to call for a new genre category, one which explodes the boundaries of “original” national cultures as well as those of cinematic conventions. This new genre is variously labeled “independent transnational cinema,” (Naficy, 1996) “postcolonial hybrid films” (Shohat and Stam, 1994) or simply “world cinema,” (Roberts, 1998) a descriptor which, in contrast to older separatist categories such as “third world cinema” (Pines and Willemen, 1989) or “sub-state cinema” (Crofts, 1998), stresses the universality of mobility and diversity.

scholarly journals Kitap İncelemesi: Gözde Naiboğlu, Post-Unification Turkish German Cinema; Work, Globalisation and Politics Beyond Representation

2021 ◽  
Vol 8 (3) ◽  
pp. 501-505
Author(s):  
Ayla Torun
Keyword(s):  
German Cinema ◽  
Turkish German

Gözde Naiboğlu, Post-Unification Turkish German Cinema; Work, Globalisation and Politics Beyond Representation [Birleşme Sonrası Türk-Alman Sineması, Temsilin Ötesinde İş, Küreselleşme ve Politika], London: Palgrave Macmillan, 2018, 217 pp. 1990'da iki Almanya devletinin birleşmesiyle başlayan dönem, artık Almanya'da yetişen ikinci kuşaktan Türk-Alman sinemacıların da üretimlerine başladığı yıllarla örtüşmektedir. Avrupa'da göçmenlerin demografik hacminin genişlemesi ve ardından yeni kuşak göçmenlerin film endüstrisi içerisinde etkinliklerinin artmasıyla, 2000'li yıllardan itibaren göçmen sineması alanında çalışmalarda da artmış ve bunların içinde Türk-Alman Sineması önemli bir başlık olmuştur. Naiboğlu'nun Birleşme Sonrası Türk-Alman Sineması'nı incelediği çalışması, göç sinemasının temel konularından olan Avrupa'ya işçi göçü ve sonrasında oluşan atmosfere yeni bir bakış açısı getirmektedir. Kitap, birleşme sonrası Türk-Alman sinemasını etik, duygulanım ve emek odaklı olarak incelemektedir. Odağını uzun süredir devam eden entegrasyon, kimlik ve kültürel çatışma kaygılarından kaydıran Naiboğlu, bu filmlerin artık göçmenler ve vatandaşlar arasındaki çatışmaları vurgulamadığını savunmaktadır. Temelinde işçi göçüne dayanan bu sinemanın gözardı edilen köklerine dönerek, filmlerdeki çalışma yaşamına ve bunun yansımalarına odaklanmıştır. Filmlerde; çalışma, işsizlik, güvencesiz ve yasadışı çalışma, toplumsal yeniden üretim, tükenme ve istikrarsızlık temaları aracılığıyla geç kapitalizm altında yaşanan deneyimin yeni ifadelerinin sunumuna odaklanarak, yerleşik sınıf, topluluk ve kimlik fikirlerinin yeniden düşünülmesi çağrısında bulunmaktadır. Bu doğrultuda, çoğunlukla kimlik ve temsil eksenine dayanan Türk-Alman Sineması yazınına yeni bir yaklaşım önerisi getirerek, temsil sonrası yaklaşım biçimlerini örneklendirmektedir.

scholarly journals German Cinema in the Era of New Millennium - Focussing on Berlin School -

2016 ◽  
Vol 12 (3) ◽  
pp. 7-43
Author(s):  
이주봉
Keyword(s):  
German Cinema ◽  
New Millennium
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