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Year 2010, Volume: 2 Issue: 24, 103 - 115, 06.12.2011

Lesley C. Pleasant

Abstract

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.
  • 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. Moncea u, 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

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

Year 2010, Volume: 2 Issue: 24, 103 - 115, 06.12.2011

Lesley C. Pleasant

Abstract

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.

Keywords

Postnational Heimatfilm Multiculturalism

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.
  • 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. Moncea u, 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

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

Year 2010, Volume: 2 Issue: 24, 103 - 115, 06.12.2011

Lesley C. Pleasant

Abstract

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.

Keywords

Postnational Heimatfilm Multiculturalism

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.
  • 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. Moncea u, 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
There are 25 citations in total.

Details

Primary Language English
Journal Section Articles
Authors

Lesley C. Pleasant This is me

Publication Date December 6, 2011
Submission Date December 6, 2011
Published in Issue Year 2010 Volume: 2 Issue: 24

Cite

APA Pleasant, L. C. (2011). Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level. Studien Zur Deutschen Sprache Und Literatur, 2(24), 103-115.
AMA Pleasant LC. Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level. Studien zur deutschen Sprache und Literatur. December 2011;2(24):103-115.
Chicago Pleasant, Lesley C. “Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level”. Studien Zur Deutschen Sprache Und Literatur 2, no. 24 (December 2011): 103-15.
EndNote Pleasant LC (December 1, 2011) Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level. Studien zur deutschen Sprache und Literatur 2 24 103–115.
IEEE L. C. Pleasant, “Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level”, Studien zur deutschen Sprache und Literatur, vol. 2, no. 24, pp. 103–115, 2011.
ISNAD Pleasant, Lesley C. “Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level”. Studien zur deutschen Sprache und Literatur 2/24 (December 2011), 103-115.
JAMA Pleasant LC. Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level. Studien zur deutschen Sprache und Literatur. 2011;2:103–115.
MLA Pleasant, Lesley C. “Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level”. Studien Zur Deutschen Sprache Und Literatur, vol. 2, no. 24, 2011, pp. 103-15.
Vancouver Pleasant LC. Model Number ‘in transit’: Postnational Heimatfilm. Moving Multiculturalism to the Next Level. Studien zur deutschen Sprache und Literatur. 2011;2(24):103-15.