Bayrakdar, D.2024-06-232024-06-23202597810407728679789463724166https://doi.org/10.5117/9789463724166_CH09In this essay, I explore the land-, sea-, and cityscapes in six films (five Turkish and one Turkish German)—Bliss, The Wound, Rıza, Broken Mus-sels, 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. © 2022 The authors/Taylor & Francis Group.eninfo:eu-repo/semantics/openAccessCityscapeHeterotopiaLandscapeMigrant BodiesNon-PlacesSeascapeTransnational SpacesTurkish CinemaBook Part10.5117/9789463724166_CH092-s2.0-105021730344