Chapter 2 The Oblivion of Influence: Mythical Realism in Feo Aladağ’s When We Leave

Kapitel in diesem Buch

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. Introduction 1
5. I CONFIGURATIONS OF STEREOTYPES AND IDENTITIES: NEW METHODOLOGIES
6. Chapter 1 My Big Fat Turkish Wedding: From Culture Clash to Romcom 17
7. Chapter 2 The Oblivion of Influence: Mythical Realism in Feo Aladağ’s When We Leave 32
8. Chapter 3 The Minor Cinema of Thomas Arslan: A Prolegomenon 44
9. II MULTIPLE SCREENS AND PLATFORMS: FROM DOCUMENTARY AND TELEVISION TO INSTALLATION ART
10. Chapter 4 Roots and Routes of the Diasporic Documentarian: A Psychogeography of Fatih Akın’s We Forgot to Go Back 57
11. Chapter 5 Gendered Kicks: Buket Alakuş’s and Aysun Bademsoy’s Soccer Films 72
12. Chapter 6 Location and Mobility in Kutluğ Ataman’s Site-specific Video Installation Küba 84
13. Chapter 7 Turkish for Beginners: Teaching Cosmopolitanism to Germans 96
14. Chapter 8 “Only the Wounded Honor Fights”: Züli Aladağ’s Rage and the Drama of the Turkish German Perpetrator 109
15. III INSTITUTIONAL CONTEXTS: STARS, THEATERS, AND RECEPTION
16. Chapter 9 The German Turkish Spect ator and Turkish Language Film Programming: Karli Kino, Maxximum Distribution, and the Interzone Cinema 121
17. Chapter 10 Mehmet Kurtuluş and Birol Ünel: Sexualized Masculinities, Normalized Ethnicities 136
18. Chapter 11 The Perception and Marketing of Fatih Akın in the German Press 149
19. Chapter 12 Hyphenated Identities: The Reception of Turkish German Cinema in the Turkish Daily Press 161
20. IV THE CINEMA OF FATIH AKIN: AUTHORSHIP, IDENTITY, AND BEYOND
21. Chapter 13 Cosmopolitan Filmmaking: Fatih Akın’s In July and Head-On 173
22. Chapter 14 Remixing Hamburg: Transnationalism in Fatih Akın’s Soul Kitchen 186
23. Chapter 15 World Cinema Goes Digital: Looking at Europe from the Other Shore 198
24. Notes on Contributors 213
25. Works Cited 218
26. Index of Names 243
27. Index of Films 247