Browsing by Author "Bayrakdar, Deniz"

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Introduction: refugees and Migrants in Contemporary Film, art, and media
(Amsterdam Univ Press, 2022) Burgoyne, Robert; Bayrakdar, Deniz
[No Abstract Available]
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Migrant Bodies in the Land/City of 2000s Turkish Cinema
(Amsterdam Univ Press, 2022) Bayrakdar, Deniz
In this essay, I explore the land-, sea-, and cityscapes in six films (five Turkish and one Turkish German)-Bliss, The Wound, Riza, Broken Mussels, The Guest, and Seaburners-and their use of place and non-place. Hamid Naficy's concept of transitional space and Marc Auge'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.
Citation Count: 0
Refugees and Migrants in Contemporary Film, Art and Media Conclusion (speculative)
(Amsterdam Univ Press, 2022) Burgoyne, Robert; Bayrakdar, Deniz
[No Abstract Available]
Traversing Epistolarity in Chantal Akerman's Les Rendez-Vous D'anna (1978)
(Kadir Has Üniversitesi, 2022-02) Sezgin, Gözde; Bayrakdar, Deniz
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.