A century ago, the Greek-Turkish War of 1919-1922 (Turkish War of Liberation/Asia Minor Campaign) was reaching its culmination point. The war was also fought in the pages of the Press. In this study, we look at the characteristics of the caricatures marshalled in the war effort by three publications. The Greek newspaper Skrip, and the Turkish satirical magazines Karagöz and Güleryüz. We find that most expectations based on semiotics and the concept of interstate rivalry are borne out. Depictions of the ‘Other’ are generally negative. That said we also find that Skrip dedicated the majority of its caricatures to targeting the internal ‘Other’, the Venizelist faction during the National Schism, in contrast to the more focused targeting of the Greek ‘Other’ by the Turkish publications. This finding indicates the dominance of domestic conflicts over the external conflict even during the inflation point of the Greek-Turkish Interstate Rivalry of 1866-1925.
In this article, I contemplate the questions of “Europeanness” through the prism of Fatih Akın’s films. His works can be considered as being representative of European urban cinema, as he skillfully questions “European identity” through the cosmopolitan urban landscape and multicultural identities he employs. Such scrutinization of identities, be it on the level of individual, national, and/or postnational, are emphasized by the sampling of various eclectic music genres. Just as the identity of Europe has been shifting, Akın’s filmic representations have been successful in capturing the postindustrial cityscapes of certain European cities. Moreover, through the music and sounds he deploys, Akın opens up a “third space.” This unfolds through his cinematography, which aurally and visually reflects on cityscapes, immigrant and nonimmigrant identities, as well as emotional geographies created through his various subjectivities. Such a third space is also constituted by the flow of desire of his characters through their temporal displacements between (European) cities such as Hamburg and Istanbul, and their attachments to “places” through music. I thus discuss how Akın engages with the meaning of “Europeanness” and European identity in relation to the “Other,”—in other words, how this director tackles the issue of identities through the socio-political and cultural spaces of his protagonists. This also overlaps with how he utilizes music in his movies, as well as how he represents the idea of a utopia and dystopia through the social world of his diasporic characters.
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