Diasporic cinema: turkish-german filmmakers with particular emphasis on generational differences

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FILMS CITED

40 Quadrameter Deutschland (40 Squaremetres Germany). 1986. Dir. Tevfik Başer. Script: Tevfik Başer. Perf. Özay Fecht, Yaman Okay. Studio Hamburg Filmproduktion and Tevfik Başer Filmproduktion.
À bout de souffle (Breathless). 1960. Dir. Jean-Luc Godard. Script: François Truffaut, Jean-Luc Godard. Perf. Jean-Paul Belmondo, Jean Seberg, Daniel Boulanger. Les Productions Georges de Beauregard and Société Nouvelle de Cinématographie (SNC).
Abshied vom falschen Paradies (Farewell to False Paradise). 1989. Dir. Tevfik Başer. Script: Tevfik Başer, Sibylle Shönemann, Salina Scheinhardt, Cornelius Bischoff. Perf. Zuhal Olcay, Brigitte Janner, Ruth Ólafsdóttir. Studio Hamburg Filmproduktion, Zweites Deutsches Fernsehen (ZDF) and Ottokar Runze Filmproduktion.
Adems Sohn (Adem's Son). 2008. Dir. Hakan Savaş Mican. Script: Hakan Savaş Mican, Max Honert. Perf. Tamer Yigit, Murat Seven, Erden Alkan. Deutsche Film und Fernsehakademie Berlin and RBB/Potsdam-Babelsberg.
All That Heaven Allows. 1955. Dir. Douglas Sirk. Script: Peg Fenwick, Edna L. Lee, Harry Lee. Perf. Jane Wyman, Rock Hudson, Agnes Moorehead. Universal International Pictures (UI).
Alltag (Everyday). 2002. Dir. Neco Çelik. Script: Nadya Derado, Neco Çelik. Perf. Erhan Emre, Andreas Günther, Neelesha BaVora. Bayerischer Rundfunk (BR) and TeamWorx Produktion für Kino und Fernsehen GmbH.
Almanya Acı Vatan (Germany, the bitter Heimat). 1979. Dir. Şerih Gören. Script: Zehra Tan. Perf. Hülya Koçyiğit, Rahmi Saltuk. Selim Soydan.
Angst essen Seele auf (Ali: Fear Eats the Soul). 1974. Dir. Rainer Werner Fassbinder. Script: Rainer Werner Fassbinder. Perf. Brigitte Mira, El Hedi Ben Salem. Filmverlag der Autoren and Tango-Film (München).
Aprilkinder (April Children). 1998. Dir. Yüksel Yavuz. Script: Yüksel Yavuz, Henner Winckler, Britta Ohm. Perf. Erdal Yıldız, Bülent Sharif, Sinem Tepe. Zweites Deutsches Fernsehen (ZDF) and Zero Fiction Film GmbH (Berlin).
Auf der anderen Seite (The Edge of Heaven). 2007. Dir. Fatih Akın. Script: Fatih Akın. Perf. Nurgül Yeşilçay, Baki Davrak, Patrycia Ziolkowska. Corazón International.
Auslandstournee (Tour Abroad). 1999. Dir. Ayşe Polat. Script: Ayşe Polat, Basri Polat. Perf. Hilmi Sözer, Özlem Blume, Özay Fecht. Mira Filmproduktion Bremen GmbH and Zweites Deutsches Fernsehen (ZDF).
Babel. 2006. Dir. Alejandro González Iñárritu. Script: Guillermo Arriaga, Guillermo Arriaga. Perf. Brad Pitt, Cate Blanchett, Gael García Bernal. Paramount Vantage, Anonymous Content, Zeta Film etc.
Bekleme Odası (The Waiting Room). 2003. Dir. Zeki Demirkubuz. Script: Zeki Demirkubuz. Perf. Zeki Demirkubuz, Nurhayat Kavrak, Nilufer Açıkalın. Mavi Film.
Bend It Like Beckham . 2002. Dir. Gurinder Chadha. Script: Gurinder Chadha, Guljit Bindra. Perf. Parminder Nagra, Keira Knightley, Jonathan Rhys Meyers. Kintop Pictures, Bend It Films, Filmförderung Hamburg etc.
Benim Dertli Köyüm (My Sorrowful Village). 2005. Dir. Kemal Görgülü. dostFilm and ESAV.
Berlin in Berlin. 1993. Dir. Sinan Çetin. Script: Sinan Çetin, Ümit Ünal. Perf. Hülya Avşar, Armin Block, Cem Özer. Plato Film Production.
Büyük Adam Küçük Aşk (Hejar). 2001. Dir. Handan İpekçi. Script: Handan İpekçi. Perf. Şükran Güngör, Dilan Erçetin and Füsun Demirel. Yeni Yapımlar Ltd.
Caché (Hidden). 2005. Dir. Michael Haneke. Script: Michael Haneke. Perf. Juliette Binoche, Daniel Auteuil, Annie Girardot, Maurice Bénichou. Les Films du Losange, Wega Film and Bavaria Film.

Chiko. 2008. Dir. Özgür Yıldırım. Script: Özgür Yıldırım. Perf. Denis Moschitto, Volkan Özcan, Moritz Bleibtreu. Corazón International GmbH and Co. KG (Hamburg).
Cinema Paradiso. 1989. Dir. Giuseppe Tornatore. Script: Giuseppe Tornatore. Perf. Philippe Noiret, Enzo Cannavale, Antonella Attili. Cristaldifilm, Les Films Ariane, Rai Tre Radiotelevisione Italiana.
Close-up Kurdistan. 2007. Dir. Yüksel Yavuz. Script: Yüksel Yavuz. Peter Stockhaus Filmproduktion and Mitosfilm (Berlin).
Crossing the Bridge: The Sound of İstanbul. 2005. Dir. Fatih Akın. Script: Fatih Akın. Corazón International, Norddeutscher Rundfunk (NDR), Panfilm, Pictorion Pictures GmbH and Intervista digital media GmbH (Hamburg).
Davaro. 1981. Dir. Kartal Tibet. Script: Yavuz Turgul. Perf. Kemal Sunal, Şener Şen, Pembe Mutlu. Başaran Film.
Dealer. 1998. Dir. Thomas Arslan. Script: Thomas Arslan. Perf. Tamer Yiğit, İdil Üner. Trans-Film GmbH (Berlin) and Zweites Deutsches Fernsehen (ZDF).
Der Himmel über Berlin (Wings of Desire). 1987. Dir. Wim Wenders. Script: Wim Wenders, Peter Handke, Richard Reitinger. Perf. Bruno Ganz, Solveig Dommartin, Otto Sander. Road Movies Filmproduktion, Argos Films and Westdeutscher Rundfunk (WDR).
Der Lebensversicherer (Running on Empty). 2006. Dir. Bülent Akıncı. Script: Bülent Akıncı. Perf. Jens Harzer, Marina Galic, Anna Maria Mühe. Deutsche Film und Fernsehakademie Berlin, Razor Film Produktion GmbH and Zweites Deutsches Fernsehen (ZDF).
Der schöne Tag (A Fine Day). 2000. Dir. Thomas Arslan. Script: Thomas Arslan. Perf. Serpil Turhan, Bilge Bingül. Filmboard Berlin-Brandenburg (FBB), Pickpocket Productions, Zweites Deutsches Fernsehen (ZDF) and Zero Fiction Film GmbH.
Die Heimreise (Vatan Yolu). 1988. Dir. Enis Günay, Rasim Konyar. Script: Enis Günay, Rasim Konyar. Perf. Yaman Okay, Füsun Demirel, Yavuz Kalan. Pro-ject Filmproduktion im Filmverlag der Autoren GmbH (München), E/R-Film (München) and Frankfurter Filmwerkstatt GmbH.
Die Hochzeitsfabrik. 2005. Dir. Aysun Bademsoy. Script: Aysun Bademsoy. Harun Farocki Filmproduktion (Berlin).
Die letzte Patrone. 1999. Dir. Nuray Şahin. Script: Nuray Şahin. Perf. Erdal Yıldız, Du-Hwan Jang. Deutsche Film und Fernsehakademie Berlin GmbH.
Die letzten Bilder. 1995. Dir. Bülent Akıncı. Script: Bülent Akıncı. Perf. Martin Grawel, Erwin Reiss. Deutsche Film und Fernsehakademie Berlin GmbH.
Du bist es! (You Are the One). 1995. Dir. Fatih Akın. Script: Fatih Akın. Perf. Fatih Akın, Adam Bousdoukos, Şükriye Dönmez. Wüste Film.
Ein Mädchen im Ring. 1996. Dir. Aysun Bademsoy. Script: Aysun Bademsoy.
Eine andere Liga (Offside). 2004. Dir. Buket Alakuş. Script: Buket Alakuş, Jan Berger. Perf. Karoline Herfurth, Ken Duken. Wüste Filmproduktion and Das kleine Fernsehspiel.
Eine kleine Geschichte. 2001. Dir. Bülent Akıncı. Script: Bülent Akıncı. Perf. Burghart Klaußner, Gudrun Landgrebe, Sina Richardt. Bayerischer Rundfunk (BR) and Deutsche Film und Fernsehakademie Berlin.
Elefantenherz (Elephant Heart). 2002. Dir. Züli Aladağ. Script: Züli Aladağ, Jörg Tensing, Maria Erceq. Perf. Daniel Brühl, Manfred Zapatka, Angelika Bartsch. Cameo Film und Fernsehproduktion (Köln) and Westdeutcher Rundfunk.
En Garde. 2004. Dir. Ayşe Polat. Script: Ayşe Polat. Perf. Maria Kwiatkowsky, Pinar Erincin, Luc Piyes. X-Filme Creative Pool and Zweites Deutsches Fernsehen (ZDF).
Exils (Exiles). 2004. Dir. Tony Gatlif. Script: Tony Gatlif. Perf. Romain Duris, Lubna Azabal, Zouhir Gacem. Princes Films, Pyramide Productions, Cofimage 15 etc.
Ferien (Vacation). 2007. Dir. Thomas Arslan. Script: Thomas Arslan. Perf. Angela Winkler, Karoline Eichhorn, Uwe Bohm. Pickpocket Productions and Zweites Deutsches Fernsehen (ZDF).
Folge der Feder. 2004. Dir. Nuray Şahin. Script: Nuray Şahin. Perf. Pegah Ferydoni, Nezâ Selbuz, Kirsten Block. Deutsche Film und Fernsehakademie Berlin GmbH and Moneypenny Filmproduktion GmbH (Berlin).
Funny Games. 1997. Dir. Michael Haneke. Script: Michael Haneke. Perf. Susanne Lothar, Ulrich Mühe, Arno Frisch, Frank Giering. Austrian Film Institute, Wega Film, Wiener Filmfinanzierungsfonds and Österreichischer Rundfunk (ORF).
Fremd (Foreign). 2007. Dir. Hakan Savas Mican. Script: Hakan Savas Mican. Perf. Sema Poyraz, Roja Mert, Murat Karabey Yılmaz. Deutsche Film und Fernsehakademie Berlin GmbH.
Ganz unten (Lowest of the Low). 1985. Dir. Jörg Gförer. Script: Jörg Gförer, Günter Wallraf. Perf. Günter Wallraf. Kaos Film and Video Team GmbH (Köln), Radio Bremen and Pirat-Film.
Gegen die Wand (Head-On). 2004. Dir. Fatih Akın. Script: Fatih Akın. Perf. Birol Ünel, Sibel Kekilli. Wüste Filmproduktion, Bavaria Film and Soda Pictures.
Geschwister (Brothers and Sisters). 1996. Dir. Thomas Arslan. Script: Thomas Arslan. Perf. Savaş Yurderi, Tamer Yiğit, Serpil Turhan. Trans-Film GmbH (Berlin) and Zweites Deutsches Fernsehen (ZDF).
Goodfellas. 1990. Dir. Martin Scorsese. Script: Nicholas Pileggi. Perf. Robert De Niro, Ray Liotta, Joe Pesci. Warner Bros. Pictures.
Güneşe Yolculuk (Journey to the Sun). 1999. Dir. Yeşim Ustaoğlu. Script: Yeşim Ustaoğlu. Perf. Nazmi Kirik, Newroz Baz, Mizgin Kapazan. Istisnai Filmler ve Reklamlar (IFR), Medias Res Filmproduktion and The Film Company.
Güneşi Gördüm (I Saw the Sun). 2009. Dir. Mahsun Kırmızıgül. Script: Mahsun Kırmızıgül. Perf. Mahsun Kırmızıgül, Demet Evgar, Murat Ünalmış. Boyut Film.
Ich bin Tochter meiner Mutter (Ben Annemin Kızıyım). 1996. Dir. Seyhan Derin. Script: Seyhan Derin. Hochschule für Fernsehen und Film (HFF).
Ich gehe jetzt rein (In the Game). 2008. Dir. Aysun Bademsoy. Script: Aysun Bademsoy. Das Kleine Fernsehspiel (ZDF) and Harun Farocki Filmproduktion.
Im Juli (In July). 2000. Dir. Fatih Akın. Script: Fatih Akın. Perf. Moritz Bleibtreu, Christiane Paul, Mehmet Kurtuluş. Wüste Filmproduktion (Hamburg), Argos Filmcilik Turizm and Quality Pictures.
In fremder Erde (In Foreign Lands). 2001. Dir. Ayhan Salar. Script: Ayhan Salar.
Jeunesse Dorée. 2002. Dir. Zaïda Ghorab-Volta. Script: Zaïda Ghorab-Volta. Perf. Alexandra Jeudon, Alexandra Laflandre, Loïc Augoyard. Agat Films & Cie, Ex Nihilo and Arte France Cinéma.
Karamuk. 2001. Dir. Sülbiye V. Günar. Script: Sülbiye V. Günar, Grit Neuber. Perf. Julia Mahnecke, Adnan Maral, Buket Yeni. Colonia Media Film Produktions GmbH (Köln), Label 131 and Westdeutscher Rudfunk.
Katma Değer Şaban. 1985. Dir. Kartal Tibet. Script: Osman F. Seden. Perf. Kemal Sunal, Filiz Ersürer, Sevda Aktolga. Uğur Film.
Kebab Connection. 2004. Dir. Anno Saul. Script: Fatih Akın, Ruth Toma, Jan Berger, Anno Saul. Perf. Denis Moschitto, Nora Tschirner. Wüste Filmproduktion, Westdeutscher Rudfunk and Creado Film.
Kısmet Kısmet. 1986. Dir. İsmet Elçi. Script: İsmet Elçi. Perf. İsmet Elçi, Lothar Lambert, Ulrike Schirm. Ararat Medienproduktion (Berlin).
Kleine Freiheit (A Little Bit of Freedom). 2003. Dir. Yüksel Yavuz. Script: Yüksel Yavuz, Henner Winckler. Perf. Çağdaş Bozkurt, Leroy Delmar, Nazmi Kirik. Cotta Media Entertainment, Peter Stockhaus Filmproduktion, and Zweites Deutsches Fernsehen (ZDF) and Zero Fiction Film GmbH (Berlin).
Kurz und schmerzlos (Short Sharp Shock). 1998. Dir. Fatih Akın. Script: Fatih Akın. Perf. Mehmet Kurtuluş, Adam Bousdoukos, Alexander Jovanovic. Wüste Filmproduktion and Zweites Deutsches Fernsehen (ZDF).
La graine et le mulet (Couscous - The Secret of the Grain). 2007. Dir. Abdellatif Kechiche. Script: Abdellatif Kechiche. Perf. Habib Boufares, Hafsia Herzi, Farida Benkhetache. Pathé Renn Productions, Hirsch, France 2 Cinéma etc.
La Haine (Hate). 1995. Dir. Mathieu Kassovitz. Script: Mathieu Kassovitz. Perf. Vincent Cassel, Hubert Koundé, Said Taghmaoui. Canal Plus, Cofinergie 6 and Egg Pictures.
Lassie. 2002. Dir. Sinan Akkuş. Script: Sinan Akkuş. Perf. Sinan Akkuş, Tayfun Bademsoy, Christoph Mario, Denis Moschitto. Refika Film (Köln) and Wüste Film West GmbH (Köln).
Lebewohl, Fremde (Farewell Stranger). 1991. Dir. Tevfik Başer. Script: Tevfik Başer Perf. Müşfik Kenter, Grazyna Szapolowska. Haro Senft Film Produktion, Lichtblick Film und Fernsehproduktion, Pro-ject Filmproduktion, Tevfik Başer Film Produktion and Zweites Deutsches Fernsehen (ZDF).
Lola und Bilidikid. 1998. Dir. Kutluğ Ataman. Script: Kutluğ Ataman. Perf. Gandi Mukli, Baki Davrak, Erdal Yıldız. Boje Buck Produktion, Zero Fiction Film GmbH (Berlin) and Westdeutcher Rundfunk (Köln).
Mädchen am Ball. 1995. Dir. Aysun Bademsoy. Script: Aysun Bademsoy. Tele Potsdam (Berlin).
Mein Vater, der Gastarbeiter (My Father the Guest Worker). 1995. Dir. Yüksel Yavuz. Script: Britta Ohm, Yüksel Yavuz. Zero Fiction Film GmbH (Berlin).
Meine Mutter (Anam). 2001. Dir. Buket Alakuş. Script: Buket Alakuş. Perf. Nursel Köse, Saskia Vester, Audrey Motaung, Patrycia Ziolkowska. Wüste Filmproduktion.
New York, I Love You. 2009. Dir. Fatih Akın, Yvan Attal, Allen Hughes, Wen Jiang, etc. Script: Fatih Akın, Hu Hong, Alexandra Cassavettes, Olivier Lécot, etc. Perf. Uğur Yücel, Qi Shu, Andy Garcia, Natalie Portman, etc. Sherezade Film Development, Ever So Close Inc., Benaroya Pictures, etc.
Paris, je t'aime. 2006. Dir. Gurinder Chadha, Joel Coen, Alfonso Cuarón etc. Script: Paul Mayeda Berges, Joel Coen, Alfonso Cuarón etc. Victoires International, Pirol Stiftung, Filmazure etc.
Reise der Hoffnung (Journey of Hope). 1990. Dir. Xavier Koller. Script: Xavier Koller, Feride Çiçekoğlu. Perf. Necmettin Çobanoğlu, Nur Sürer, Emin Sivas. Antea Cinematografica, Catpics Coproductions and Channel Four Films etc.
Salaam Bombay!. 1988. Dir. Mira Nair. Script: Mira Nair, Sooni Taraporevala. Perf. Shafiq Syed, Hansa Vithal, Chanda Sharma. Cadrage, Channel Four Films, Doordarshan etc.
Scarface. 1983. Dir. Brian De Palma. Script: Oliver Stone. Perf. Al Pacino, Michelle Pfeiffer, Steven Bauer. Universal Pictures.
Schau mich an (Look at Me). 2008. Dir. Ayla Gottschlich. Filmakademie Baden-Württemberg GmbH (Ludwigsburg).

Sevda heißt Liebe (Sevda Means Love). 2000. Dir. Sinan Akkuş. Script: Sinan Akkuş. Perf. Fatih Çevikkollu, Renate Fuchs. Refika Film (Köln).
Solino. 2001. Dir. Fatih Akın. Script: Ruth Toma. Perf. Barnaby Metschurat, Moritz Bleibtreu, Antonella Attili. Wüste Filmproduktion, Wüste Film West GbmH (Köln) and Westdeutcher Rundfunk.
The Kid. 1921. Dir. Charles Chaplin. Script: Charles Chaplin. Perf. Charles Chaplin, Edna Purviance, Jackie Coogan. Charles Chaplin Productions.
Totentraum (Dead Reverie). 1994. Dir. Ayhan Salar. Script: Ayhan Salar, Hasan Çil. Perf. Aybahar Selbuz, Ercan Durmaz. Filmbüro Hamburg (Unterstützung) and Institut für Film und Fernsehen (Bremen).
Uzak (Distant). 2002. Dir. Nuri Bilge Ceylan. Script: Nuri Bilge Ceylan, Cemil Kavukçu. Perf. Muzaffer Özdemir, Emin Toprak and Zuhal Gencer. NBC Ajans ve NBC Film.
Urban Guerillas. 2003. Dir. Neco Çelik. Script: Neco Çelik. Perf. İdil Üner, Sofia Bavas, Felix Kasper Kalypso. 36Pictures Film Company (Berlin).
Üçüncü Sayfa (The Third Page). 1999. Dir. Zeki Demirkubuz. Script: Zeki Demirkubuz. Perf. Başak Köklükaya, Ruhi Sarı, Erol Babaoğlu. Mavi Film.

Valkyrie. 2008. Dir. Bryan Singer. Script: Christopher McQuarrie, Nathan Alexander. Perf. Tom Cruise, Bill Nighy, Carice van Houten. Metro-Goldwyn-Mayer (MGM), United Artists, Bad Hat Harry Productions and Achte Babelsberg Film.
Who's That Knocking at My Door. 1967. Dir. Martin Scorsese. Script: Betzi Manoogian, Martin Scorsese. Perf. Harvey Keitel, Zina Bethune, Anne Collette. Trimod Films.
Winterblume (Winter Flowers). 1997. Dir. Kadir Sözen. Script: Kadir Sözen. Perf. Menderes Samancılar, Meral Yüzgüleç, Gandi Mukli. Filmfabrik Spiel und Dokumentarfilmproduktion GmbH (Köln) and Westdeutscher Rundfunk (WDR).
Wir haben vergessen zurückzukehren (We Forgot to Return). 2001. Dir. Fatih Akın. Script: Fatih Akın. Megaherz TV Fernsehproduktion GmbH (Unterföhring).
Wut (Rage). 2006. Dir. Züli Aladağ. Script: Max Eipp. Perf. Oktay Özdemir, August Zirner, Corinna Harfouch, Robert Höller. Colonia Media Filmproduktions GmbH (Köln) and Westdeutscher Rundfunk (WDR).
Yasemin. 1988. Dir. Hark Bohm. Script: Hark Bohm. Perf. Ayşe Romey, Uwe Bohm, Şener Şen. Hamburger Kino-Kompanie, Hark Bohm Filmproduktions KG and Zweites Deutsches Fernsehen (ZDF).
Yazgı (Fate). 2001. Dir. Zeki Demirkubuz. Script: Zeki Demirkubuz. Perf. Serdar Orçin, Zeynep Tokuş. Mavi Film.
Yazı Tura (Toss-up). 2004. Dir. Uğur Yücel. Script: Uğur Yücel. Perf. Olgun Şimşek, Kenan İmirzalıoğlu. Cinegram and Mahayana Film.

1 Bauman argues that “modernity starts when space and time are separated from living practice and from each other and so become ready to be theorised as distinct and mutually independent categories of strategy and action, when they cease to be, as they used to be in long premodern centuries, the intertwined and so barely distinguishable aspects of living experience, locked in a stable and apparently invulnerable one-to-one correspondence” (2000: 8-9).

2 See Loshitzky 2010; Mani 2007; Newman 2007; Phillips 2010; Lewis and Neal 2005 and Koser 2007.

3 See Bowcot and Jones Guardian 19 June 2010: 23 for an article about the mistreatment of Iraqi refugees by British officers.

4 However, one should be wary of the overemphasis on mobility: “Tölölyan contends that the privileging of routes over roots and of the mobile/nomadic over the sedentary has gone too far. There is an implicit assumption that sedentarism – the decision to stay – is a mark of stasis and inertia that does not require the sort of investigation and analysis that mobility does” (Ishkanian 2004: 115).

5 See Kant’s essay “Perpetual Peace: A Philosophical Sketch” (1991) as a pioneer and seminal text for the discussion of cosmopolitan right.

6 Leading to the rise of political right with their racially inflected discourses, the matter was widely utilised as a propaganda tool by conservative leaders who have recently come to power in various European countries such as; Jan Pieter Balkenende – the leader of Christian Democratic Appeal- in the Netherlands; Angela Merkel – the leader of the Christian Democratic Union – in Germany; Silvio Berlusconi – the leader of People of Freedom – in Italy; Viktor Orbán – the leader of Fidesz: Hungarian Civic Union – in Hungary; David Cameron – the leader of the Conservative Party – in England and Bart de Wever – the leader of the New Flemish Alliance – which was the third party to form a coalition in the latest election in Belgium.

7 See Dyer 1997 for a study of how interracial heterosexuality poses a threat as it breaks the legitimation of whiteness.

8 See Kürşat-Ahlers 1996.

9 Also see Appadurai 2003a for a discussion of how diasporic public spheres are created when moving images meet deterritorialised viewers.

10 See Robertson 1994 for a discussion of the effects of local conditions on global pressures.

11 See Shohat and Stam 1994: 39-40.

12 See Peter Hallward 2001: 20-61 for critical approaches against the shift which tends to glorify pluralism and heterogeneity in the field of postcolonial theory.

13 See Homi K. Bhabha 1994: 94-120 for a detailed analysis of the construction of otherness in colonialism.

14 See Benedict Anderson 2006 for the impact of print technology and languages on the construction of modern nations.

15 See Homi. K. Bhabha 1990 and Papastergiadis 2000 for further elaboration of Anderson’s formulation and why his work is so important and influential in terms of how we understand the structures of modern nations respectively.

16 Appadurai argues that “when the story of contemporary migration is juxtaposed with the rapid flow of mass-mediated images, scripts and sensations, we have a new order of instability in the production of modern subjectivities. In this context, electronic mediation and mass migration mark the world of the present not as technically new forces but as ones that seem to impel the work of the imagination” (2003a: 4).

17 See Hall 1991 and 2003 and Papastergiadis 2000.

18 It means Partiya Karkeren Kurdistan in Kurdish; hence the abbreviation PKK.

19 Recently, bombings by PKK have recurred in several big Turkish cities and the Turkish army has performed a military operation in Northern Iraq in order to disarm PKK militants who were deployed in the region. For further information see Zaman 18 December 2007; Evrensel 25 December 2007; Star 3 December 2007.

20 A very recent example of this social conflict between Turkish and Kurdish people in diaspora occurred in Vienna in November 2007: Turks and Kurds demonstrated and attacked each other, destroying buildings and vehicles during the fight, which resulted in the arrest of some demonstrators (Radikal 2007: online).

21 Also see Werbner 2010 and 2002 for a further elaboration of the concept of “complex diasporas”.

22 Which is probably also due to the fact that religion plays a primary role while ethnic and national affiliations are of secondary status for the construction of a cultural identity in Germany. Also see Jahn 2007 for a discussion of fraternity developed between Kurds and Turks living in Germany. Nevertheless, it should be noted here that religion does not necessarily lead to convergence. As observed by Werbner in the context of South Asian diaspora in Britain, “language, culture and nationality have remained a major block to the homogenisation of British Islam” (2004: 906).

23 See European Stability Initiative Report 2008 for further and diverse statistics. Available at: http://www.esiweb.org/pdf/esi_picture_story_-_germans_and_turks_-_november_2008.pdf

24 It should be noted here that Turkish-German relations predate the signing of this agreement: Turkey and Germany were allies in the First World War, and during the war many young people migrated from the Ottoman Empire to Germany under an “on-the-job training scheme”. Also, in 1933, many German academics opposing Hitler found refuge in Turkey since the government at the time offered political asylum and work (Akgündüz 1998: 97-121; see also Horrocks and Kolinsky 1996).

25 See Elçin Kürşat-Ahlers 1996 for relevant statistics.

26 See Bhabha 1990; Hall 2003; Clifford 1994; Boyarin and Boyarin 1993 and Cohen 2003.

27 Also see Kohl 2007 and Ludat 2007 for an incisive discussion of integration and assimilation in Germany.

28 See Elçin Kürşat-Ahlers 1996 for a detailed discussion of how segregation and disadvantage have shaped daily lives of Turkish immigrants in the absence of an equal rights strategy.

29 See Kurylo 2007 and Ludat 2007 for specific discussions of the hard working and living conditions Turkish guest workers endured.

30 See Yıldız 2009; Amelina and Faist 2008; Kappert 2007; Billstein 2007; Kleine-Brockhoff 2007; Ross 2007a and Karakaşoğlu 1996 for insightful analyses of the role of religion among the Turkish community, the emergence of organised Islam and the gendered understanding of it in Germany.

31 Also see pages 34, 97 and 149 for the concept of “third space”.

32 See Waldinger and Perlmann 1998; Kürşat-Ahlers 1996 and Massey and Denton 1993.

33 The term “Almancı”, caused by adding the suffix –cı to the word for German, linguistically means they fancy Germany and German culture.

34 For example, “the sons and daughters of Harkis, Algerians who served as volunteers in the French Army between 1954 and 1962, remain politically and socially marked both in France and Algeria” (Bloom 2006: 136).

35 Yet there are also discussions that complicate this account by arguing that citizenship and the granting of a passport is not the solution per se, as integration is more a social problem than a legal one: see Ross 2007b and Tibi 2007.

36 In 2001, Rita Süssmuth, under the chancellorship of Schröder, announced that Germany is an immigration country. For a further discussion of Germany’s citizenship policies see Göktürk et al. 2007.

37 See www.germany-info.org/content/np_3c.html for further information.

38 See Huyssen 2003: 155 and Ewing 2006: 268 for examples.

39 For examples, see Fachinger 2007; Brenner 2007 and Horrocks and Kolinsky 1996.

40 See Cohen 2003 for a comprehensive discussion of the concept of cultural diasporas.

41 See pages 39-52.

42 See Vitali and Willemen 2006 and Halle 2008.

43 See Higson 1989; Willemen 2006; Miller 1999; Hayward 1993; Hedetoft 2000; Yoshimoto 2006; O’Regan 1996; Triana-Toriba 2003 and Elsaesser 2005.

44 Up until 1990s, the notion of “European” did not necessitate transnationalism though. As Elsaesser stresses “popular European cinema featured recognisable national stars and concentrated on proven genres such as Austro-German costume dramas, French polars and Italian comedies, British Carry-On films or German detective films. European here helps distinguish these genre cinemas from Hollywood, without implying transnational, i.e. inter-European popularity” (2005: 485).

45 Elsaesser argues that for any discussion of new Europe we need to beware of hyphenation; “whether it is the old political hyphenation of the founding nations of the European Union or whether it is the now politically correct hyphenation of more recent nationals in Europe such as French-Arab, Dutch-Moroccan or German-Turkish” (2008: 14).

46 Ruud Koopmans and Paul Statham warn us against the early celebration of the demise of nation and nation-state though by referring to the scarcity of systematic evidence supporting it (Koopmans and Statham 2003).

47 Also see pages 167-179 for a further discussion of hybrid genres.

48 In botany, “rhizome is a horizontal underground plant stem capable of producing the shoot and root systems of a new plant. This capability allows the parent plant to propagate vegetatively (asexually) and also enables a plant to perennate (survive an annual unfavourable season) underground” (Encylopedia Britannica 2009).

49 See Deleuze and Guattari 2004 for a further discussion of the concept of rhizome as a resistant interbeing, intermezzo.

50 See page 95.

51 See page 204 for a further discussion of the term. Also see Hjort 2000 and Schlesinger 2000 for evaluations of Michael Billig’s theory.

52 See pages 22-32.

53 See Merck 2007 for a detailed discussion of how American national identity and national pride were built and reiterated in films made even by immigrant filmmakers.

54 For a comprehensive discussion of the concept see Naficy 2003.

55 See for instance Marciniak 2003; Berghahn 2006; Clark 2006 and Di Stefano 2002.

56 See pages 43-45.

57 See Solonas and Getino 1976; Rocha 1997; Armes 1987 and Wayne 2001 for detailed analyses of Third Cinema.

58 Yet, one should note that world cinema, as suggested, appears to be such a vacuous term to be virtually useless analytically.

59 See pages 94-96 for a discussion of the concept of “dialogic imagination”.

60 See pages 52-67.

61 See Jäckel 2010 and Elsaesser 2005 for comprehensive analyses of the funding sources and production modes in contemporary world cinema, with particular emphasis on the European style of filmmaking.

62 See Marks 2000: 13-19.

63 See, for instance, Fenner’s discussion about how production structure determines films’ content and aesthetics with specific reference to Xavier Koller’s