BibTex RIS Kaynak Göster

-

Yıl 2013, Sayı: 44 - İletişim Fakültesi Hakemli Dergisi, 117 - 142, 26.10.2013

Battal Odabaş

Öz

This article analyzes movies shot by German-Turkish directors that feature wedding-theme and have transnational qualities. This study is built upon the assumption that the wedding ritual is one of the most prominent examples of keeping alive the local culture. Germany, which is the problematic of this study, witnesses the identity crises of a new German generation with Turkish origins that had begun with Turkish workers refusing to return home and instead settling down where they had gone, temporarily at first, for work. The second and third generations who live in Germany and differ from previous generations and their problems now live with two identities in the place of one and also keep in touch with Turkey. Movies that discuss the transformation and marriage problems of sons and daughters of the workers who are stuck between tradition and modernity make up the focus of this article. Movies featuring weddings were included in the range of movies chosen for the study. Movies analyzed are shot in Germany and Turkey and the characters especially represent both countries. Thus, within the conceptual frame of this study, instead of definitions such as immigrant cinema or diasporic cinema, the term ‘transnational cinema’ is more explanatory. Movies by German-Turkish directors bear these transnational properties and the wedding theme analyzed here is one such property.

Anahtar Kelimeler

Weddings in Movies Integration Immigration

Kaynakça

  • Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51. Ateş, S. (2009). Der Multikulti-Irrtum. Berlin: Ullstein Buchverlage GmbH. qtd. in: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Bayatlı, N. Y. (2009). Irak Türkmenlerinde Hikâye Anlatma Gelenegi ve Koroglu Anlatmalari, I.Uluslararasi Köroglu, Bolu Tarih ve Kültürü Sempozyumu, Bolu, ss. Oct 17-18, 2009.
  • Boratav, P. N. (2003), 100 Soruda Türk Folkloru (Inanislar, Töre ve Törenler, Oyunlar), qtd. in: Gönen, S. (2011). Türk Kültüründe Kiz Kaçirarak Evliligin Köy Seyirlik Oyunlarindaki Izleri. Türki̇yat Araştirmalari Dergisi, 29. 45-55.
  • Berber, O. (2009). Türk Kültüründe Eğlence ve Birlik Unsuru Olarak Dügünler. Journal of Süleyman Demirel University Institue of Social Sciences,10, 1-11.
  • Bergfelder, T, Harris, S. & Street, S. (2007), Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema, Amsterdam: Amsterdam University Press.
  • Berghahn D. & Sternberg C. (2010). European Cinema in Motion: Migrant and Diasporic Films in Contemporary Europe. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Daniela Berghahn; Claudia Sternberg. (Edited by). (13-49). Basingstoke: Palgrave. Cited by: Schrader S. & Winkler D. (2013). The Cinemas of Italian Migration: European and Transatlantic Narratives, Sabine Schrader and Daniel Winkler (Edited by). (2-18). Newcastle: Cambridge Scholars Publishing.
  • Beşirli, M. (2004). Bagdat Demiryolu’nun Akdeniz Uzantisi: Toprakkale İskenderun Demiryolu. Journal of A.U. Türkiyat Araştırmalari Enstitüsü, 23, 215-236.
  • Burak, D.M. (2005). Enver Pasa’nin Hayati Ve IIngi̇li̇z Belgeleri̇ndeki̇ Dügün Raporu. Gazi University Kastamonu Education Journal. 13/1. 163-180.
  • Cengiz, R. (2011). Sosyoloji̇k Bi̇r Olgu Olarak Müzi̇k (Tokat Örnegi) “Music As Of A Case Sociological (Case Of Tokat). The Journal of International Social Research. 4 /18. 363-378.
  • Clauson, S. G. (1972) An Etymological Dictionary of Pre-Thirteenth Century Turkish. Oxford: Oxford Univercity. Cited by: Saglik, G.S. (2006). Türkmen Dügün Gelenegi. Modern Türklük Araştırmaları Dergisi 3/2. 71-85.
  • Çetin, C. (2008). Türk Dügün Gelenekleri̇ ve Kutsal Evli̇li̇k Ri̇tüeli̇. Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi 48/2. 111-126.
  • Durdıyeva, A. (1997). Türk Dilli̇ Halklarin Folklorunda Geleneksel Siir İliskileri. Yusuf Akgül (Translated by). Bilig. 6. 77-88.
  • Elsaesser T. (2005). European Cinema Face to Face with Hollywood. Amsterdam: Amsterdam University Press. Cited By: Berghahn, D. (2007). Retrieved August 4, 2013 from http://www. migrantcinema.net/glossary/term/cinema_of_double_occupancy/
  • Elsaesser T. (2005). European Cinema Face to Face with Hollywood. Amsterdam: Amsterdam University Press.
  • Ercan, A. (2001). Schulte: Aspekte und Probleme der Kooperation zwischen deutscher Grundschule und türkischen Eltern. Unpublished Bachelor thesis, Education Sciences of Münster University. qtd. in: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Eroğlu, E. & Sarica, N. (2012). Mi̇dyat Süryani̇leri̇ni̇n Dügün Gelenekleri̇. Turkish Studies-International Periodical For The Languages, Literature and History of Turkish or Turkic. 7/3, 1189-1199.
  • Ersoy, R. (2006). ̧Sehi̇rleşme-Halk Kültürü Iki̇lemi̇nde Sorunlar ve Bazi Çözüm Öneri̇leri̇. Erciyes Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. 20. 233-238.
  • Ezra, E. & Rowden, T. (2006a), (Edited by). Transnational Cinema: The Film Reader, London: Routledge. Ezra, E. & Rowden, T. (2006b), General Introduction: What is Transnational Cinema?, Elizabeth Ezra and Terry Rowden (Edited by). Transnational Cinema: The Film Reader, 1–12.. London: Routledge. Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By:). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Göktürk, D. (1999). Turkish Delight—German Fright: Migrant Identities in Transnational Cinema. Oxford:University of Oxford. Cited by: Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Gönen, S. (2011). Türk Kültüründe Kız Kaçırarak Evliliğin Köy Seyirlik Oyunlarındaki İzleri, Türkiyat Arastirmalari Dergisi. 29. 45-55.
  • Hague, R. (1988). Marriage Athenian Style. Archaeolgy, 32-36. Cited by: Çetin, C. (2008). Türk Dügün Gelenekleri̇ ve Kutsal Evli̇li̇k Ri̇tüeli̇. Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi 48/2. 111-126.
  • Haydarpasa Gar Binasinin Tarihcesi, Retrieved July 19, 2013 from http://www.haydarpasagar.com/ index.php?option=com_content&view=article&id=12&Itemid=31
  • Higbee, W. & Hwee .(2010), S. Concepts of transnational cinema: towards a critical transnationalism in film studies. Transnational Cinemas. 1/1. 7-21.
  • Higson, A. (2000). The Limiting Imagination of National Cinema, Mette Hjort, Scott MacKenzie (Edited by), Cinema and Nation, (63-74). London and New York: Routledge.
  • Hillman, R. (2010). Transnationalism in The Films Of Fatih Akin. Paul Gifford,Tessa Hauswedell (Edited by). Europe and Its Others: Essays on Interperception and Identity. (263-276). Bern: Peter Lang AG. Kooijman, J. (2008). Fabricating The absolute fake: America in Contemporary Pop Culture. Amsterdam: Amsterdam University Press.
  • Koray, S. & Şen F. (1993). Türkiye’den Avrupa Topluluğu’na Göç Hareketleri, Köln: Onel Publication, Cited by: Artukoğlu, O. S. (2005). Yurtdisi Isçi Tasarruflarinin Türkiye Cumhuriyet Merkez Bankasi, Banka Sistemi ve Türkiye Ekonomisi Üzerine Etkileri, Turkish Republic Central Bank, Ankara: Unpublished Specialty Efficiency Thesis.
  • Köksal, S. (1986). Refah Toplumunda “Getto” ve Türkler. Istanbul: Her Own Publication.
  • Kurmuş, O. (1974). Emperyalizmin Türkiye’ye Girisi. Istanbul: Bilim Publication. Cited by: Dr. Mehmet B., Bagdat Demiryolu’nun Akdeniz Uzantisi: Toprakkale İskenderun Demiryolu, Jurnal of A.Ü. Türkiyat Araştırmaları Enstitüsü, 23, 215-236.
  • Kuruyazıcı, N. (2001). Almanya’da Olusan Yeni Bir Yazinin Tartisilmasi. N. Kuruyazici / M. Karakuş (Edited By). Gurbeti Vatan Edenler Almanca Yazan Almanyali Türkler. 3-23. Ankara: Kültür Bakanligi, Cited by: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken.4/2. 37-51.
  • Naficy, H. (2001). An accented cinema: exilic and diasporic filmmaking. New Jersey: Princeton University Press.
  • Naficy, H. (1996). Phobic Spaces and Liminal Panics: Independent Transnational Film Genre. Rob Wilson, Wimal Dissanayake (Edited by) Global/Local: Cultural Production and the Transnational Imaginary. 119-144. Durham and London: Duke University Press. Cited by: Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By:). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Office of the Prime Minister, Directorate General of Press and Information Website (n.d.), Retrieved from http://www.byegm.gov.tr/ Özdemir, C. (2000). “Deutsch oder nicht sein?”: Integration in der Bundesrepublik Deutschland. Berlin: Verlagsgruppe Lübbe GmbH & Co. KG. Cited by: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Plot Summary for Evet, ich will! (n.d.). Retrieved July 19, 2013 from http://www.imdb.com/title/ tt1176933/
  • Rodriguez Ortega, V. (2007). Transnational Media Imaginaries: Cinema, Digital Technology and Uneven Globalization. New York: ProQuest.Information and Learning Company.
  • Seeßlen, G. (2000). ‘Kino der doppelten Kulturen/ Le Cinema du métissage/ The Cinema of inbetween: Erster Streifzug durch ein unbekanntes Kino-Terrain’, epd Film, 12:22-29. http://www.filmportal. de/public/pics/IEPics/d1/03D8FBEE873A4C20856ACAADA2376272_ mat_seexxlen_neu.pdf. Cited By: Berghahn, D. (2008). Retrieved August 4, 2013 from http://www.migrantcinema.net/ glossary/term/kino_der_fremdheit/
  • Shoat, E. & Stam, R. (1994). Unthinking Eurocentrism: Multiculturalism and the Media. London and New York: Routledge. qtd. in: Gemünden, G. (2006). Retrieved August 3, 2013 from http://www. press.umich.edu/pdf/0472113844-ch12.pdf .

WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY

Yıl 2013, Sayı: 44 - İletişim Fakültesi Hakemli Dergisi, 117 - 142, 26.10.2013

Battal Odabaş

Öz

This article analyzes movies shot by German-Turkish directors that feature wedding-theme and have transnational qualities. This study is built upon the assumption that the wedding ritual is one of the most prominent examples of keeping alive the local culture. Germany, which is the problematic of this study, witnesses the identity crises of a new German generation with Turkish origins that had begun with Turkish workers refusing to return home and instead settling down where they had gone, temporarily at first, for work. The second and third generations who live in Germany and differ from previous generations and their problems now live with two identities in the place of one and also keep in touch with Turkey. Movies that discuss the transformation and marriage problems of sons and daughters of the workers who are stuck between tradition and modernity make up the focus of this article. Movies featuring weddings were included in the range of movies chosen for the study. Movies analyzed are shot in Germany and Turkey and the characters especially represent both countries. Thus, within the conceptual frame of this study, instead of definitions such as immigrant cinema or diasporic cinema, the term 'transnational cinema' is more explanatory. Movies by German-Turkish directors bear these transnational properties and the wedding theme analyzed
here is one such property.

Keywords: Weddings in Movies, Integration, Immigration


ALMANYA'DA YAŞAYAN TÜRK-ALMAN YÖNETMENLERİN FİLMLERİNDE DÜĞÜN TEMASI

ÖZ
Bu makale, Türk-Alman yönetmenleri tarafından yapılan, ulus ötesi film özellikleri taşıyan düğün temalı filmleri konu alan bir inceleme çalışmasıdır. Çalışma, düğün ritüelinin yerel kültürü canlı tutmanın en seçkin örneklerinden biri olduğu gerçeğinin sorgusu üzerine inşa edilmiştir. Makalenin inceleme sorunsalını oluşturan Almanya Türk işçilerinin, geçici olarak çalışmak için gittiği ve geri dönüş yapmayarak yerleşik hayata geçmeleriyle başlayan, yeni bir Türk asıllı Alman genç kuşağının, kimlik sorunlarına tanıklık etmektedir. Almanya'da yaşayan, kendilerinden önceki kuşaktan ve onların sorunsallarından farklılaşan ikinci ve üçüncü kuşak, artık iki farklı kimliği tek bir kimlikte yaşamakta ve Türkiye ile iletişim halinde bulunmaktadırlar. Geleneksel kültür ve modernite kavramları arasında kalan işçi çocuklarının dönüşümü ve evliliklerindeki sorunların sergilendiği filmler incelemenin konusunu oluşturmaktadır. Çalışmada seçilen film örneklemine düğün özellikleri içeren filmler dahil edilmiştir. İncelenen filmler Almanya'da ve Türkiye'de çekilmiş ve karakterlerin her iki ülkeyi temsil etmesine dikkat edilmiştir. Böylece bu çalışmanın kavramsal çerçevesi kapsamında, göçmen sinema, diasporik sinema gibi tanımlamaların yerine, ulus ötesi sinema kavramı açıklayıcı olmaktadır. Türk-Alman yönetmenlerin yaptığı filmler bu ulus ötesi özellikleri taşımaktadır ve incelenen düğün teması bunlardan biridir.

Anahtar Kelimeler: Filmlerde Düğün, Entegrasyon, Göç

Anahtar Kelimeler

Filmlerde Düğün Entegrasyon Göç

Kaynakça

  • Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51. Ateş, S. (2009). Der Multikulti-Irrtum. Berlin: Ullstein Buchverlage GmbH. qtd. in: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Bayatlı, N. Y. (2009). Irak Türkmenlerinde Hikâye Anlatma Gelenegi ve Koroglu Anlatmalari, I.Uluslararasi Köroglu, Bolu Tarih ve Kültürü Sempozyumu, Bolu, ss. Oct 17-18, 2009.
  • Boratav, P. N. (2003), 100 Soruda Türk Folkloru (Inanislar, Töre ve Törenler, Oyunlar), qtd. in: Gönen, S. (2011). Türk Kültüründe Kiz Kaçirarak Evliligin Köy Seyirlik Oyunlarindaki Izleri. Türki̇yat Araştirmalari Dergisi, 29. 45-55.
  • Berber, O. (2009). Türk Kültüründe Eğlence ve Birlik Unsuru Olarak Dügünler. Journal of Süleyman Demirel University Institue of Social Sciences,10, 1-11.
  • Bergfelder, T, Harris, S. & Street, S. (2007), Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema, Amsterdam: Amsterdam University Press.
  • Berghahn D. & Sternberg C. (2010). European Cinema in Motion: Migrant and Diasporic Films in Contemporary Europe. European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe. Daniela Berghahn; Claudia Sternberg. (Edited by). (13-49). Basingstoke: Palgrave. Cited by: Schrader S. & Winkler D. (2013). The Cinemas of Italian Migration: European and Transatlantic Narratives, Sabine Schrader and Daniel Winkler (Edited by). (2-18). Newcastle: Cambridge Scholars Publishing.
  • Beşirli, M. (2004). Bagdat Demiryolu’nun Akdeniz Uzantisi: Toprakkale İskenderun Demiryolu. Journal of A.U. Türkiyat Araştırmalari Enstitüsü, 23, 215-236.
  • Burak, D.M. (2005). Enver Pasa’nin Hayati Ve IIngi̇li̇z Belgeleri̇ndeki̇ Dügün Raporu. Gazi University Kastamonu Education Journal. 13/1. 163-180.
  • Cengiz, R. (2011). Sosyoloji̇k Bi̇r Olgu Olarak Müzi̇k (Tokat Örnegi) “Music As Of A Case Sociological (Case Of Tokat). The Journal of International Social Research. 4 /18. 363-378.
  • Clauson, S. G. (1972) An Etymological Dictionary of Pre-Thirteenth Century Turkish. Oxford: Oxford Univercity. Cited by: Saglik, G.S. (2006). Türkmen Dügün Gelenegi. Modern Türklük Araştırmaları Dergisi 3/2. 71-85.
  • Çetin, C. (2008). Türk Dügün Gelenekleri̇ ve Kutsal Evli̇li̇k Ri̇tüeli̇. Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi 48/2. 111-126.
  • Durdıyeva, A. (1997). Türk Dilli̇ Halklarin Folklorunda Geleneksel Siir İliskileri. Yusuf Akgül (Translated by). Bilig. 6. 77-88.
  • Elsaesser T. (2005). European Cinema Face to Face with Hollywood. Amsterdam: Amsterdam University Press. Cited By: Berghahn, D. (2007). Retrieved August 4, 2013 from http://www. migrantcinema.net/glossary/term/cinema_of_double_occupancy/
  • Elsaesser T. (2005). European Cinema Face to Face with Hollywood. Amsterdam: Amsterdam University Press.
  • Ercan, A. (2001). Schulte: Aspekte und Probleme der Kooperation zwischen deutscher Grundschule und türkischen Eltern. Unpublished Bachelor thesis, Education Sciences of Münster University. qtd. in: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Eroğlu, E. & Sarica, N. (2012). Mi̇dyat Süryani̇leri̇ni̇n Dügün Gelenekleri̇. Turkish Studies-International Periodical For The Languages, Literature and History of Turkish or Turkic. 7/3, 1189-1199.
  • Ersoy, R. (2006). ̧Sehi̇rleşme-Halk Kültürü Iki̇lemi̇nde Sorunlar ve Bazi Çözüm Öneri̇leri̇. Erciyes Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. 20. 233-238.
  • Ezra, E. & Rowden, T. (2006a), (Edited by). Transnational Cinema: The Film Reader, London: Routledge. Ezra, E. & Rowden, T. (2006b), General Introduction: What is Transnational Cinema?, Elizabeth Ezra and Terry Rowden (Edited by). Transnational Cinema: The Film Reader, 1–12.. London: Routledge. Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By:). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Göktürk, D. (1999). Turkish Delight—German Fright: Migrant Identities in Transnational Cinema. Oxford:University of Oxford. Cited by: Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Gönen, S. (2011). Türk Kültüründe Kız Kaçırarak Evliliğin Köy Seyirlik Oyunlarındaki İzleri, Türkiyat Arastirmalari Dergisi. 29. 45-55.
  • Hague, R. (1988). Marriage Athenian Style. Archaeolgy, 32-36. Cited by: Çetin, C. (2008). Türk Dügün Gelenekleri̇ ve Kutsal Evli̇li̇k Ri̇tüeli̇. Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi 48/2. 111-126.
  • Haydarpasa Gar Binasinin Tarihcesi, Retrieved July 19, 2013 from http://www.haydarpasagar.com/ index.php?option=com_content&view=article&id=12&Itemid=31
  • Higbee, W. & Hwee .(2010), S. Concepts of transnational cinema: towards a critical transnationalism in film studies. Transnational Cinemas. 1/1. 7-21.
  • Higson, A. (2000). The Limiting Imagination of National Cinema, Mette Hjort, Scott MacKenzie (Edited by), Cinema and Nation, (63-74). London and New York: Routledge.
  • Hillman, R. (2010). Transnationalism in The Films Of Fatih Akin. Paul Gifford,Tessa Hauswedell (Edited by). Europe and Its Others: Essays on Interperception and Identity. (263-276). Bern: Peter Lang AG. Kooijman, J. (2008). Fabricating The absolute fake: America in Contemporary Pop Culture. Amsterdam: Amsterdam University Press.
  • Koray, S. & Şen F. (1993). Türkiye’den Avrupa Topluluğu’na Göç Hareketleri, Köln: Onel Publication, Cited by: Artukoğlu, O. S. (2005). Yurtdisi Isçi Tasarruflarinin Türkiye Cumhuriyet Merkez Bankasi, Banka Sistemi ve Türkiye Ekonomisi Üzerine Etkileri, Turkish Republic Central Bank, Ankara: Unpublished Specialty Efficiency Thesis.
  • Köksal, S. (1986). Refah Toplumunda “Getto” ve Türkler. Istanbul: Her Own Publication.
  • Kurmuş, O. (1974). Emperyalizmin Türkiye’ye Girisi. Istanbul: Bilim Publication. Cited by: Dr. Mehmet B., Bagdat Demiryolu’nun Akdeniz Uzantisi: Toprakkale İskenderun Demiryolu, Jurnal of A.Ü. Türkiyat Araştırmaları Enstitüsü, 23, 215-236.
  • Kuruyazıcı, N. (2001). Almanya’da Olusan Yeni Bir Yazinin Tartisilmasi. N. Kuruyazici / M. Karakuş (Edited By). Gurbeti Vatan Edenler Almanca Yazan Almanyali Türkler. 3-23. Ankara: Kültür Bakanligi, Cited by: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken.4/2. 37-51.
  • Naficy, H. (2001). An accented cinema: exilic and diasporic filmmaking. New Jersey: Princeton University Press.
  • Naficy, H. (1996). Phobic Spaces and Liminal Panics: Independent Transnational Film Genre. Rob Wilson, Wimal Dissanayake (Edited by) Global/Local: Cultural Production and the Transnational Imaginary. 119-144. Durham and London: Duke University Press. Cited by: Gemünden, G. (2006). Hollywood in Altona: Minority Cinema and the Transnational Imagination. Agnes C. Mueller (Edited By:). German Pop Culture: How “American” Is It? (180-190) Michigan: University of Michigan Press.
  • Office of the Prime Minister, Directorate General of Press and Information Website (n.d.), Retrieved from http://www.byegm.gov.tr/ Özdemir, C. (2000). “Deutsch oder nicht sein?”: Integration in der Bundesrepublik Deutschland. Berlin: Verlagsgruppe Lübbe GmbH & Co. KG. Cited by: Asutay, H. & Atik O. (2012). Reflections Of Turkish-German Youth Sub-Cultures In Fatih Akin’s Film “Kurz Und Schmerzlos”. Zeitschrift für die Welt der Türken / Journal of World of Turks. 4/2. 37-51.
  • Plot Summary for Evet, ich will! (n.d.). Retrieved July 19, 2013 from http://www.imdb.com/title/ tt1176933/
  • Rodriguez Ortega, V. (2007). Transnational Media Imaginaries: Cinema, Digital Technology and Uneven Globalization. New York: ProQuest.Information and Learning Company.
  • Seeßlen, G. (2000). ‘Kino der doppelten Kulturen/ Le Cinema du métissage/ The Cinema of inbetween: Erster Streifzug durch ein unbekanntes Kino-Terrain’, epd Film, 12:22-29. http://www.filmportal. de/public/pics/IEPics/d1/03D8FBEE873A4C20856ACAADA2376272_ mat_seexxlen_neu.pdf. Cited By: Berghahn, D. (2008). Retrieved August 4, 2013 from http://www.migrantcinema.net/ glossary/term/kino_der_fremdheit/
  • Shoat, E. & Stam, R. (1994). Unthinking Eurocentrism: Multiculturalism and the Media. London and New York: Routledge. qtd. in: Gemünden, G. (2006). Retrieved August 3, 2013 from http://www. press.umich.edu/pdf/0472113844-ch12.pdf .
Toplam 36 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Battal Odabaş

Yayımlanma Tarihi 26 Ekim 2013
Yayımlandığı Sayı Yıl 2013 Sayı: 44 - İletişim Fakültesi Hakemli Dergisi

Kaynak Göster

APA Odabaş, B. (2013). WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal(44), 117-142. https://doi.org/10.17064/iüifhd.75215
AMA Odabaş B. WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal. Ekim 2013;(44):117-142. doi:10.17064/iüifhd.75215
Chicago Odabaş, Battal. “WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY”. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal, sy. 44 (Ekim 2013): 117-42. https://doi.org/10.17064/iüifhd.75215.
EndNote Odabaş B (01 Ekim 2013) WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal 44 117–142.
IEEE B. Odabaş, “WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY”, İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal, sy. 44, ss. 117–142, Ekim 2013, doi: 10.17064/iüifhd.75215.
ISNAD Odabaş, Battal. “WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY”. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal 44 (Ekim 2013), 117-142. https://doi.org/10.17064/iüifhd.75215.
JAMA Odabaş B. WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal. 2013;:117–142.
MLA Odabaş, Battal. “WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY”. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal, sy. 44, 2013, ss. 117-42, doi:10.17064/iüifhd.75215.
Vancouver Odabaş B. WEDDING THEME IN FILMS FROM TURKISH-GERMAN DIRECTORS LIVING IN GERMANY. İstanbul Üniversitesi İletişim Fakültesi Dergisi | Istanbul University Faculty of Communication Journal. 2013(44):117-42.
 Kapak Resmi İndir