Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Fatih Akin's Cinema and the New Sound of Europe
In Fatih Akın’s Cinema and the New Sound of Europe, Berna Gueneli explores the transnational works of acclaimed Turkish-German filmmaker and auteur Fatih Akın. The first minority director in Germany to receive numerous national and international awards, Akın makes films that are informed by Europe’s past, provide cinematic imaginations about its present and future, and engage with public discourses on minorities and migration in Europe through his treatment and representation of a diverse, multiethnic, and multilingual European citizenry. Through detailed analyses of some of Akın’s key works—In July, Head-On, and The Edge of Heaven, among others—Gueneli identifies Akın’s uni...
Where do I belong?
Seminar paper from the year 2009 in the subject Film Science, grade: 1,5, University of London, course: Cinema and Nation, language: English, abstract: In the 1980s Turkish-German cinema started to become an important impact on German national cinema. But sine the 1980s much has change in the cinematic representation of Turks, living in Germany. The former ‘mute Turk’ (Bhabha, 1990, pp. 315 - 317), the guest worker that was excluded from German society has become the multicultural second-generation immigrant that owns a German passport. Turkish-German filmmakers such as Fatih Akin, Thomas Aslan or Yüksel Yavuz deal with the topic of Turkish-German identity (Göktürk, 2002, pp. 253 – ...
Fatih Akin
None
The Cut by Fatih Akin
It is after his second opus on Turkish immigration in Germany that Turkish-German director Fatih Akin decided to explore the darkest period of his country of origin. With the film The Cut, he ends the trilogy Liebe, Tod und Teufel. This master's thesis reflects on the use of the Western genre in the representation of the Armenian Genocide. We will start with a short history of the Western genre and the representation of genocide in cinema. Then we will analyse the film as per the notion of genre and see under which measure the use of a universally known genre enables Fatih Akin to justify his aesthetic choices. During this analysis, we will use four key elements as the groundwork to establish a link with the Western genre. They are the figure of the hero, the landscapes, the myth of the frontier and the title of the film itself. The intention of this research is not to be comparative, but to situate the film within the movement that is the Post-western. Finally, the notion of identity will allow us to understand how the film The Cut exists within Akin's trilogy.
Fatih Akin
None
Im Juli
None
Challenging European Borders
In my dissertation, I discuss three of Akın's feature films: Im Juli (In July, 2000), Gegen die Wand (Head-on, 2004), and Auf der anderen Seite (The Edge of heaven, 2007) in order to investigate Akın's filmic visions of Europe. Through close textual readings, I analyze three aspects of his films in particular: the spatial conceptions of Europe (city- and landscapes), the sounds of Europe (music and languages) as well as the display of ethnic minorities and the changing urban demography in Germany and Europe. I argue that Akın employs an "aesthetic of heterogeneity" to portray his filmic Europe as a diverse space, in which multiethnic and multilingual music, people, and sceneries are juxta...
Where Do I Belong?
Seminar paper from the year 2009 in the subject Film Science, grade: 1,5, University of London, course: Cinema and Nation, language: English, abstract: In the 1980s Turkish-German cinema started to become an important impact on German national cinema. But sine the 1980s much has change in the cinematic representation of Turks, living in Germany. The former 'mute Turk' (Bhabha, 1990, pp. 315 - 317), the guest worker that was excluded from German society has become the multicultural second-generation immigrant that owns a German passport. Turkish-German filmmakers such as Fatih Akin, Thomas Aslan or Yüksel Yavuz deal with the topic of Turkish-German identity (Göktürk, 2002, pp. 253 - 255). ...
Aus dem Nichts
Bei einem Bombenanschlag werden Katjas Mann Nuri und ihr Sohn Rocco getötet. Betäubt von Trauer und Verzweiflung sucht sie in Drogen Zuflucht. Doch nichts scheint ihren Schmerz zu lindern. Hoffnung schöpft Katja erst, als zwei Neonazis festgenommen werden, die unter Verdacht stehen, für die Anschläge verantwortlich zu sein. Der Gerichtsprozess erweist sich als anstrengend, doch Katja bleibt zuversichtlich, dass es zu einer Verurteilung kommt. Als der Verteidiger der Gegenseite geschickt Zweifel sät, kommt es zum Freispruch und Katjas Wut kennt keine Grenzen ...
Mind the Screen
Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.
