Bayrakdar, Deniz2024-06-232024-06-232022097890485545849789463724166https://doi.org/10.5117/9789463724166_CH09https://hdl.handle.net/20.500.12469/5656In 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.eninfo:eu-repo/semantics/closedAccessTurkish cinemamigrant bodieslandscapecityscapeseascapetransnational spacesnon-placesheterotopiaBook Part193217WOS:00107984630001010.5117/9789463724166_CH09