In this essay, I explore the land-, sea-, and cityscapes in six films (five
Turkish and one Turkish German)—Bliss, The Wound, Rıza, Broken Mussels,
The Guest, and Seaburners—and their use of place and non-place.
Hamid Naficy’s concept of transitional space and Marc Augé’s notion of
non-place, based on Foucault’s concept of heterotopia, will be the basis
of the theoretical discussion. I focus on what I see as a major shift in the
representation of the migrant experience in the Turkish cinema of the
early and late 2000s, a shift from the land- and cityscapes to films whose
setting is the seascape. This shift, I argue, corresponds to changes in
the phases of migration that flow within and through Turkey, and both
government policies and the public perception.