Alman-Türk Sinemasında Bir Entegrasyon Yönetmeni: Buket Alakuş

Year 2023, Volume: 11 Issue: 1, 34 - 50, 15.06.2023

Rahime Özgün Kehya

https://doi.org/10.37583/diyalog.1312762

Cited By: 1

Abstract

Alman-Türk sinemasında önde gelen film yapımcılarından biri olan Buket Alakuş’un filmleri çoğunlukla Türk göç kökenli bireyleri temsil etmektedir. Alman Ulusal Entegrasyon Planında (2007) delegasyonlar içinde yer alan Alakuş’un bu görevi doğrultusunda çektiği filmlerde nasıl bir uyum ve bütünleşme perspektifinin yansıma bulduğu önem taşımaktadır. Çok sayıda ödül almış ilk uzun metrajlı Anam – Meine Mutter (2001) filmi ile başlayarak Einmal Hans mit scharfer Soße [Acı Soslu bir Hans] (2013), Die Neu [Yeni Kız] (2015) ve Der Hodscha und die Piepenkötter [Hoca ve Bayan Piepenkötter] (2016) filmlerinde entegrasyon yükselişi gözlemlenmektedir. Bu filmlerdeki toplumsal cinsiyet, kültürel ve dini motiflerin ekseninde genel olarak uyumun karşılıklı ve çok yönlü sorumluluk gerektiren bir temsili bulunmaktadır. Göç temalı bu dört filmi entegrasyonun temsili düzleminde analiz ettiğimizde, kurbanlık (etkilenenler) ve görev sinemasından uzaklaşarak, kültür çatışması, kuşak çatışması, dini hak taleplerle birlikte sosyal-ekonomik yönden güçlü kadınlarla karşılaşıyoruz. Alakuş’un filmlerini ele almamız şu nedenle önemlidir: Çatışma ve krizler bu filmlerde genellikle kültürel nedenlerle ve belli korku ve önyargılardan kaynaklansa bile komedi ya da drama unsuruna çevrilir. İdealize edilmiş temsil ve söylemler de diyalog, tartışma, dinleme ve uzlaşma sunarak entegrasyon için gerekli adımlardır.

Keywords

Göç, entegrasyon, toplumsal cinsiyet, Buket Alakuş, temsil

Buket Alakuş, Integration Film Director in German-Turkish Cinema

Abstract

The films of Buket Alakuş, one of the prominent filmmakers in German-Turkish cinema, frequently represent individuals with Turkish migration backgrounds. As a member of the German National Integration Plan (2007) delegation, it is essential to know what kind of integration perspective the films made by Alakuş portray. Beginning with her multi-award-winning feature film Anam – Meine Mutter [My Mother] (2001), we can observe a rise in integration in the films, Einmal Hans mit scharfer Soße [Hans with Hot Sauce] (2013), Die Neu [The New] (2015) and Der Hodscha und die Piepenkötter [The Hodscha and the Piepenkötter] (2016). On the axis of gender, culture and religious motifs in these films, a representation of integration that requires mutual and multifaceted responsibility prevails. When we analyse these four migration-themed films regarding the representation of integration, we can move away from the cinema of affected and duty and encounter social-economically strong women with cultural clashes, generational conflicts and religious rights demands. It is important to consider Alakuş’s films because conflicts and crises are often turned into comedy or drama in these films, even if they are culturally motivated and stem from specific fears and prejudices. Idealised representations and discourses are also necessary steps for integration, offering dialogue, discussion, listening and compromise.

Keywords

Migration, integration, gender, Buket Alakuş, representation

References

• Alkın, Ömer (2015): Der türkische Emigrations film. Vor-Bilder des deutsch-türkischen Kinos? Abend, Sandra / Körner, Hans (Hg.): Vor-Bilder: Ikonen der Kulturgeschichte: Vom Faustkeil über Botticellis Venus bis John Wayne. München: Morisel Verlag, 191-211.
• Alkın, Ömer (2020): Die visuelle Kultur der Migration Geschichte, Ästhetik und Polyzentrierung des Migrationskinos. Bielefeld: Transcript.
• Beck-Gernsheim, Elisabeth (2015): Turkish Women in Germany: Old Stereoypes, New Diversity. Abadan-Unat, Nermin / Mirdal, Gretty (Hg.): Emancipation in Exile: Perspectives on the Empowerment of Migrant Women. İstanbul: İstanbul Bilgi University Press, 181-96.
• Brent Peterson (2012): Turkish for Beginners: Teaching Cosmopolitanism to Germans. Hake, Sabine / Mennel, Barbara (Hg.): Turkish German Cinema in the New Millennium. New York, Oxford: Berghahn Books, 96-109.
• Bundesregierung, Deutsche (2007): Neue Wege - Neue Chancen. Baden-Baden. Der Nationale Integrationsplan. Berlin.
• Castles, Stephen (2007): Twenty-first-century migration as a challenge to sociology. Journal of ethnic and migration studies 33(3), 351-71.
• Castles, Stephen / Maja Korac / Ellie Vasta / Steven Vertovec (2002): “Integration: Mapping the Field.” Immigration Research and Statistics Service.
• Cemiloğlu, Meltem (2021a): Tarihsel Perspektiften Türk Sinemasında Kadın Yönetmenler. Türkiye Film Araştırmaları Dergisi 1(2), 152-64.
• Cemiloğlu, Meltem (2021b): Türkiye'de Kadın Sinemasına Bir Bakış. Konya: Literatürk Academia.
• Elsaesser, Thomas (2005): Double occupancy and small adjustments: Space, place and policy in the new European cinema since the 1990s. European Cinema: Face to Face with Hollywood, 108-30.
• Esser, Hartmut (2001): Integration und ethnische Schichtung [Integration and ethnic stratification]. (http://www.mzes.uni-mannheim.de/publications/wp/wp-40.pdf.; 12.02.23).
• Florian Volm (2015): Review of “Die Neue (The New Girl). Anthropology of the Middle East 10(2), 131-32.
• Foroutan, Naika (2019): The Post-migrant paradigm. Bock, Jan-Jonathan/ Macdonald, Sharon (Hg.): Refugees welcome? Difference and diversity in a changing Germany, Berghahn, New York, 142-71.
• Göktürk, Deniz (2000): Migration und Kino-Subnationale Mitleidskultur oder transnationale Rollenspiele? Interkulturelle Literatur in Deutschland, Springer, 329-47.
• Göktürk, Deniz (2017): “Die Komik der Kultur”. Komik, Springer, 160-72.
• Haas, Hein de / Stephen Castles / Mark J Miller (2019): The Age of Migration: International Population Movements in the Modern World. 6. baskı Hampshire: Red Globe Press.
• Hake, Sabine (2008): German national cinema. New York: Routledge.
• Kaack, Johanna (2011): ZDF-History: Hurra, die Türken kommen! Almanya: ARD.
• Kardeş, Begüm (2017): Das Frauenbild in ausgewählten deutsch-türkischen Filmen. Eine filmsemiotische Analyse. Ankara: Hacettepe Üniversitesi.
• Kotthoff, Helga / Shpresa Jashari / Darja Klingenberg (2013): Komik (in) der Migrationsgesellschaft. Konstanz: UVK Verlagsgesellschaft mbH.
• Kotzur, Patrick F. / Linda R. Tropp / Ulrich Wagner (2018): Welcoming the Unwelcome: How Contact Shapes Contexts of Reception for New Immigrants in Germany and the United States. Journal of Social Issues 74(4), 812-32. (https://onlinelibrary.wiley.com/doi/abs/10.1111/josi.12300; 22.01.2020).
• Mecheril, Paul (2011): Wirklichkeit schaffen: Integration als Dispositiv - Essay | APuZ. (https://www.bpb.de/apuz/59747/wirklichkeit-schaffen-integration-als-dispositiv-essay?p=all; 10.12.2020).
• Naficy, Hamid (2003): Phobic Spaces and Liminal Panics: Independent Transnational. Shohat, Ella / Stam, Robert (Hg.): Multiculturalism, postcoloniality, and transnational media, Rutgers University Press, 203-27.
• Petersen, Anne Ring / Moritz Schramm / Frauke Wiegand (2019): Academic reception. Reframing Migration, Diversity and the Arts, New York. Routledge, 11-25.
• Prommer, Elizabeth / Christine Linke (2017): Audiovisuelle Diversität? Geschlechterdarstellungen in Film und Fernsehen in Deutschland. Rostock: Universität Rostock.
• Prommer, Elizabeth / Skadi Loist (2019): Filmindustrie: Branchenkultur mit Gender Bias. Dorer, Johanna / Geiger, Brigitte / Hipfl, Brigitte / Ratković, Viktorija (Hg.): Handbuch Medien und Geschlecht: Perspektiven und Befunde der feministischen Kommunikations- und Medienforschung, Springer Reference Sozialwissenschaften. Wiesbaden: Springer, 1-14. http://link.springer.com/10.1007/978-3-658-20712-0_28-1.
• Soares, Luísa Afonso (2021): Imagining Transcultural Identities in Turkish German Literature and Cinema. Syrovy, Daniel (Hg.): Discourses on Nations and Identities, Berlin/ Boston: De Gruyter, 249-58.
• Tarr, Carrie (2010): Gendering diaspora: The work of diasporic women film-makers in Western Europe. Berghahn, Daniela/ Sternberg, Claudia (Hg.): European Cinema in Motion, London: Palgrave Macmillan, 175-95.
• Tittelbach, Rainer (2013): Anam – Meine Mutter - Kritik zum Film - Tittelbach.tv. (http://www.tittelbach.tv/programm/kino-koproduktion/artikel-2346.html; 21.03.2022).
• Twark, Jill E (2020): German Film Comedy in the ‘Berlin Republic’: Wildly Successful and a Lot Funnier than You Think. Lewis, Ingrid / Canning, Laura (Hg.): European Cinema in the Twenty-First Century, Wiesbaden: Springer International Publishing, 263-79. (https://link.springer.com/chapter/10.1007/978-3-030-33436-9_15; 29.06.2020).
• Yeşilada, Karin E (2008): Turkish-German Screen Power – The Impact of Young Turkish Immigrants on German TV and Film. German as a Foreign Language (1), 72-99.