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Migration in the 21st century is one of the pre-eminent issues of our present historical moment, a phenomenon that has acquired new urgency with accelerating climate change, civil wars, and growing economic scarcities. Refugees and Migrants in Contemporary Film, Art and Media consists of eleven essays that explore how artists have imaginatively engaged with this monumental human drama, examining a range of alternative modes of representation that provide striking new takes on the experiences of these precarious populations. Covering prominent art works by Ai Weiwei and Richard Mosse, and extending the spectrum of representation to refugee film workshops on the island of Lésbos as well as virtual reality installations of Alejandro G. Iñárritu and works by Balkan and Turkish directors, such as Melisa Önel, the chapters included here focus on the power of aesthetic engagement to illuminate the stories of refugees and migrants in ways that overturn journalistic clichés.

This book consists of eleven essays that explore how artists have imaginatively engaged with this monumental human drama, examining a range of alternative modes of representation that provide striking new takes on the experiences of precarious populations.

Migration in the twenty-first century is one of the pre-eminent issues of our present historical moment, a phenomenon that has acquired new urgency with accelerating climate change, civil wars, and growing economic scarcities. Refugees and Migrants in Film, Art and Media consists of eleven essays that explore how artists have imaginatively engaged with this monumental human drama, examining a range of alternative modes of representation that provide striking new takes on the experiences of these precarious populations. Covering prominent art works by Ai Weiwei and Richard Mosse, and extending the spectrum of representation to refugee film workshops on the island of Lesvos as well as virtual reality installations of Alejandro G. Iñárritu and others, the chapters included here focus on the power of aesthetic engagement to illuminate the stories of refugees and migrants in ways that overturn journalistic clichés.

In this thesis, I study the films of the Belgian female director Chantal Akerman, with a focus on her 1978 film, Les Rendez-vous d’Anna. As one of the most influential, avantgarde auteurs in European Cinema, Chantal Akerman uses epistolarity (Naficy 2001) as the basis of her narrative, traversing the past and present through dark transitional spaces such as stations, hotel rooms, in scenes of loneliness and isolation, in the mother-daughter relationship, keeping her Jewish and queer identity as the basis of her film. I use qualitative analysis method and analyse the film based on Hamid Naficy’s discussion of epistolarity in An Accented Cinema: Exilic and Diasporic Filmmaking (2001), and other works focusing on the epistolary form (Kauffman 1986) and forms of address (Margulies 1996). Chantal Akerman is doing a mapping of World War II, and she portrays scenes from the traumatic past of Europe and focuses her work on personal stories from the aftermath of World War II. She uses epistolarity as an innovative way in her narrative, which combines the plots through a palimpsestic structure among the characters in the film. The monologues in the film replace the function of letters, while their confessional tone increases the epistolary effect. There are different epistolary media tools in the film and especially the use of telephones and the presence of answering machine within the narration bring this film closer to the telephonic epistles Hamid Naficy mentions (Naficy 2001, 101). The transitional spaces (Naficy 2001) and vehicles existing both in the image and soundtrack layers contribute to the film’s exilic and accented character.

This volume covers approaches concerning the relationship between innovation in cinema and the politics of filmmaking in new cinema practices in Turkey. The contributors focus on historiography, genres, mainstream and art cinema production, and transnational cinema, as well as changing narratives and identities. The new cinema movement in Turkey is here analysed from perspectives of new technologies, new production and distribution structures, the impact of film training, the televisual indus.

AbstractIn this essay, I explore the land-, sea-, and cityscapes in six films (five Turkish and one Turkish German)—Bliss, The Wound, Rıza, Broken Mussels, The Guest, and Seaburners—and their use of place and non-place. Hamid Naficy's concept of transitional space and Marc Augé's notion of non-place, based on Foucault's concept of heterotopia, will be the basis of the theoretical discussion. I focus on what I see as a major shift in the representation of the migrant experience in the Turkish cinema of the early and late 2000s, a shift from the land- and cityscapes to films whose setting is the seascape. This shift, I argue, corresponds to changes in the phases of migration that flow within and through Turkey, and both government policies and the public perception.Keywords: Turkish cinema, migrant bodies, landscape, cityscape, seascape, transnational spaces, non-places, heterotopiaIntroductionThe migrants’ stories in 2000s Turkish cinema are told in land-, city-, and seascapes as heterotopian, transitional spaces and non-places. In 2007, two striking films on migrants’ stories end with the protagonists gazing out on seascapes: Mutluluk (Bliss, Abdullah Oğuz, 2007) and the Turkish German film Auf der Anderen Seite (The Edge of Heaven, Fatih Akın, 2007). The closing scenes of both films emphasize the seascape as heterotopian space, which mainly does not refer to a specific place with a geographical, social, and historical connotation, but to the inverse of real sites and utopias, a characteristic that is shared with the Turkish German film Yara (The Wound, Yılmaz Arslan, 1998). Bliss tells the story of a couple forcibly migrating from Eastern Anatolia to Istanbul due to an honour killing. A young man, who has come back from his military service, is tasked with killing a young girl, a relative who is a rape victim. He falls in love with her, and they find shelter in a professor's sailing boat on the Aegean. The boat gliding through the seascapes serves as an ultimate heterotopia, signifying both freedom and a passage to maturity for the migrant couple. The Wound tells the story of a Turkish guest worker's daughter, sent back from Germany to Turkey as a punishment. The film reverses migrants’ usual direction of mobility from East to West.

In this essay, I explore the land-, sea-, and cityscapes in six films (five Turkish and one Turkish German)-Bliss, The Wound, Rıza, Broken Mussels, The Guest, and Seaburners-and their use of place and non-place. Hamid Naficy's concept of transitional space and Marc Augé's notion of non-place, based on Foucault's concept of heterotopia, will be the basis of the theoretical discussion. I focus on what I see as a major shift in the representation of the migrant experience in the Turkish cinema of the early and late 2000s, a shift from the land- and cityscapes to films whose setting is the seascape. This shift, I argue, corresponds to changes in the phases of migration that flow within and through Turkey, and both government policies and the public perception.