Fatih Akin's Cinema of Intersections

Isenberg, Noah

doi:10.1525/fq.2011.64.4.53

Cited by 3 publications

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“…On the other hand, his oeuvre is frequently described through categories that connote a surpassing of national boundaries. 'Cinema of intersections', 'accented cinema', 'diasporic cinema', 'transnational cinema' and 'cinema of hybridity' are all formulations that film scholars call upon to define Akin's work and highlight its recurring themes of border-crossing and cross-fertilization (Berghahn 2006(Berghahn , 2009Burns 2007;Isenberg 2011;Mennel 2002). His films are praised as embodiments of a new kind of cinema that moves away from a 'cinema of duty' 1 towards 'a cinema that negotiates transnationality in a playful way' (Mennel 2002: 136;Berghahn 2009).…”

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confidence: 99%

Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge

Özselçuk

2014

New Cinemas: Journal of Contemporary Film

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This article examines Fatih Akin's documentary Crossing the Bridge: The Sound of Istanbul, which focuses on the contemporary music scene in the city. It argues that through its narrative structure and narrator's voice, the documentary latently reproduces Orientalizing assumptions and frameworks and ends up undermining the understanding of hybridity that it purportedly promotes as a boundary-blurring process of cross-fertilization. Strikingly, the documentary's liberal-pluralist interpretation of the bridge in Istanbul as a metaphor for harmonious amalgamation and/or transculturation also collapses halfway through the film. The bridge, instead, transforms into a boundary-marking device which, as it renders Turkey Europe's periphery, at the same time promises the European subject an imaginary voyage over space and time that enables his access to an 'authenticity' untouched by modernity. The article concludes with an analysis of the accounts of two particular participants in the documentary which reveal the limits of both the liberal-pluralist and nationalist appropriations of the bridge as a metaphor for Turkish identity and culture.

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confidence: 99%

Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge

Özselçuk

2014

New Cinemas: Journal of Contemporary Film

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Fatih Akın’s Crossing the Bridge: Turkey as Europe’s Taşra, or Limitations of a Metaphor

Özselçuk

2022

The Provincial and the Postcolonial in Cultural Texts From Late Modern Turkey

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Configuring Affect: Complex World Making in Fatih Akın’s Auf der anderen Seite (The Edge of Heaven)

Breger¹

2014

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Through a close reading of Fatih Akın’s Auf der anderen Seite ( The Edge of Heaven , 2007), this article undertakes a theoretical intervention into the cinematic study of affect. The proposed model of narrative as a world-making assemblage of affects, associations, images, words, and sounds integrates signification-critical, affirmation-oriented approaches to affect with a continued critique of ideology. In developing how the film’s complex narrative intertwines distanciation and affect, I probe how we can turn to “good feelings” without disregarding the legacies of inequality that block them in the contemporary world.

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Fatih Akin's Cinema of Intersections

Abstract: A career survey of the work of Turkish German director Fatih Akin, whose films (notably The Edge of Heaven and Soul Kitchen) combine comedy with darker notes, emphasizing the theme of dual identity and paying particular attention to the use of music.

Cited by 3 publications

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Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge

Unsettling the metaphor: The failure of liberal hybridity in Fatih Akin’s Crossing The Bridge

Fatih Akın’s Crossing the Bridge: Turkey as Europe’s Taşra, or Limitations of a Metaphor

Configuring Affect: Complex World Making in Fatih Akın’s Auf der anderen Seite (The Edge of Heaven)

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