German-Turkish cinema
The term German-Turkish cinema (also Turkish-German cinema , Turkish-German film or German-Turkish film) is an auxiliary term from film studies. It primarily describes a cinema made by the filmmakers who emerged from the Turkish immigrant group in German-speaking countries. In addition, the history of German-Turkish cinema also includes films from German-speaking countries with a focus on German-Turkish phenomena, regardless of the origin or descent of the filmmakers.
In the 1970s and 1980s, the as yet barely localized cinema of German-Turkish themes produced problem-oriented films “about migrants”, with few exceptions, and even early works by Turkish filmmakers living in German-speaking countries are more likely to be classified as “concerned cinema”. It was not until the late 1990s that a lively and varied production of so-called German-Turkish films began, especially in the Federal Republic of Germany. These came primarily from filmmakers from the second generation of Turkish immigrants, who produced Fatih Akin, an internationally recognized German director.
Definition
No homogeneous "German-Turkish cinema"
According to the Australian film scholar Roger Hillman , German-Turkish film has become a household name in the 1990s. According to an assessment published by the German Film Institute , it is both “part of an international phenomenon, the ' Cinema du métissage '” ( Eng . “ Cinema of Double Cultures” ) “and (as) a sign of a new self-confident appearance among Turks within the German cultural scene ”.
Apart from the ethnic delimitation made at the beginning, according to the current state of research, German-Turkish cinema eludes a pointed definition, since, according to Claus Löser , it is meanwhile “quantitatively and qualitatively [...] much too complex”, “to be described as a whole in a few sentences or chapters to be able to ”. For a long time, the works of filmmakers in Germany with a Turkish migration background have in common the implementation of their intercultural background for their film work in whatever way, but this is no longer mandatory today. In addition to the German-Turkish themes that are in the foreground, there are also often purely German, for example in Lautlos (2004) by Mennan Yapo , or purely Turkish, as in the multi-award-winning short film Bende Sıra (2007) by a Berlin set designer, who do this Shape the cinema of filmmakers with a Turkish migration background.
Ultimately, the term is to be seen as an "auxiliary term" that enables film studies to classify the relatively young but strongly present phenomenon of a cinema by filmmakers of Turkish origin, especially in Germany from the 1990s, and meanwhile no longer appropriate terms such as migrant or guest worker cinema avoid. The creation of this new term emphasizes the differences to conventional German cinema as well as to the earlier immigrant cinema. In the main, the cinema of filmmakers of Turkish or Turkish origin in the German-speaking area is subsumed under the respective national cinemas and under the current global appearance of a “transnational cinema”.
The question of whether, apart from these considerations, the term “German-Turkish” or “Turkish-German” film should be used has not been clarified. However, the project “Migrant and Diasporic Cinema in Contemporary Europe” registered an increasing preference for the term variant “Turkish-German cinema” in the international specialist literature in recent years, compared to the overall concept used "German-Turkish cinema".
Phases and tendencies of German-Turkish film
From problem film to culture clash comedy
To date, there are roughly two phases in the development of German-Turkish cinema. The first is the cinema “About Migrants” in the 1970s and 1980s, which was extremely rare. In this phase of New German Cinema , the productions were primarily a problematic cinema for German directors and authors, but the early works by the first artists of Turkish origin were also dedicated the same issues at the time. While they addressed the problem of foreignness as a central issue in the 1970s (see also the 1976 television version of Was Will Niyazi in Naunynstrasse? ), In the 1980s the problem of oppression, especially with “Turkish women as victims”, came to the fore. A paradigm shift did not take place until the 1990s, when the second generation of Turkish immigrants in Germany (men and women, by the way) began to dominate the “German-Turkish” portrayal more strongly in German films. The issue of direct migration takes a back seat, at most from a retrospective perspective, e.g. B. in a documentary, told. The problem-oriented presentation preferred in the previous decades is joined by all conceivable other perspectives and genres. In particular, the emergence of the German “Culture-Clash-Comedy” should be mentioned, a variety of film that did not even exist in the Federal Republic of Germany. Recently, filmmakers of Turkish origin from German-speaking countries have also been involved in productions in Turkey as a new phenomenon in the development of the subject.
Problem-oriented representations in the 1970s and 1980s
The beginnings of German auteur cinema
Soon after the onset of labor migration from Turkey to the Federal Republic of Germany in the early 1960s, Turks in Germany began to articulate themselves artistically through literary work and theater, including to the majority society. However, German film initially remained largely unaffected by such phenomena:
“Up until the mid-1980s there was no voice in German cinema that could be identified as Turkish, nor was there any other ethnic group. Even more: the topic of intercultural confrontation and integration did not appear in German films for decades. "
Only a few films are to be excluded from this, such as the 1975 television film Shirin's Wedding , especially because, in addition to the main author Helma Sanders-Brahms, the writer Aras Ören, who was then known as the “voice of Turkish guest workers in Germany”, contributed to the script. Other examples are Rainer Werner Fassbinder's film, Fear Eats Soul , made the year before , whose working title was All Turks are called Ali , the German-Turkish love drama Zuhaus Among Strangers (1979) by Peter Keglevic (in the leading roles Herbert Grönemeyer and later director Aysun Bademsoy ) and Rüdiger Nüchtern's youth film Nacht der Wölfe (1981), which, with young Turkish and German actors, tried to realistically portray a dispute between rival youth gangs. The documentary films Hans A. Guttner's Alamanya, Alamanya (1979) and Im Niemandsland (1983) with their narrator Erdal Merdan , who had already played the leading role in the controversial first crime scene episode on migration in 1975 and Die Kümmeltürkin goes (1984), also belong to a kind harbinger of Günter Wallraff 1986 as it filmed nonfiction worldwide success at the bottom , as well as published in the same year children's film Gülibik , which according to Encyclopedia of the international film was able to the German public, "which we still foreign culture Turkish colleagues and schoolmates" almost bring and Thriller Fire for the big dragon (1984) on the subject of xenophobia and racism are among the rare German films of this time that dealt with the subject in some form. Meanwhile, German film schools had long since had the first directorial students of Turkish origin who began to use their cultural background for their work, for example Sema Poyraz , whose graduation film at the German Film and Television Academy Berlin Gölge - Future of Love (1980 ) is an early directorial work by a Turkish woman in Germany about the growing up of a guest worker child in Berlin-Kreuzberg and can be considered a "founding film of Turkish-German cinema".
Important works of migrant and migration cinema
In 1985 Tevfik Başers 40 square meters Germany caused an international sensation. The work, written and co-produced by the director, became the first widely acclaimed film by a director of Turkish origin in Germany and, in retrospect, is often seen as the starting point of a German-Turkish cinema. He received 1986 a. a. the Silver Leopard of the Locarno International Film Festival and prizes and nominations for the Federal Film Prize , a. a. as "best film". However, 40 square meters of Germany remained an individual phenomenon in the German film landscape for the time being:
“What could have acted as the starting signal for new tendencies in a multi-ethnic German cinema, [was] apparently fizzled out unheard within a few years [...]. Baser's impulse was not enough to initiate a movement, did not establish a school and did not even attract imitators. "
Previously, some exile productions by Turkish filmmakers had been made in Germany that dealt with specific social issues relating to Turkey. These films, mostly made in co-production with other countries, were primarily perceived as Turkish, including Şerif Gören's award-winning production Yol - Der Weg (1982). Erden Kıral worked in Germany for a long time , and in the 1980s and 1990s he completed half a dozen films, some of which were admired and shown in German versions.
But the inventory of roles in German filmmakers' films and German television series began to gradually change too, insofar as Turkish characters began to become normal in German productions. Outside of the specific examination of German-Turkish issues, the “foreigner roles” in German films continued to be determined by clichés . The next mark of a differentiating German-Turkish cinema is Hark Bohm's carefully researched youth film Yasemin (1988), for which the director lived for a while with Turks in Germany. The work, which was awarded numerous prizes, was also particularly a commercial success and, after Özay Fecht had already been awarded the German Film Prize in 1985 for her portrayal of Turna in 40 qm Germany , led to a second awarding of the renowned prize to an actress with Turkish roots ( Ayşe Romey ). Tevfik Baser's work also continued to attract attention. His Saliha Scheinhardt film Farewell to False Paradise (1989) earned him another nomination for the German Film Prize. His leading actress received another award - in this film, Zuhal Olcay, an artist from Turkey. As early as the following year, Başer began to realize his next film project, Lebewohl Fremde (1993), which, however, had no comparable successes.
At that time there was still no question of the evidence for actual German-Turkish cinema being exceeded , not even when the Swiss Xavier Koller succeeded in drawing global attention to the existence of the phenomenon of German- and Turkish-language films in Europe in 1991, when he surprisingly won the Oscar for best foreign language film for Reise der Hoffnung . The Turkish filmmaker Serif Gören and the Cologne-based film editor Galip İyitanır were involved in the production of Reise der Hoffnung . The few successes of German-Turkish themes in German-language cinema should not hide the fact that even these films ultimately only conveyed one-sided ideas about migrants in Germany, just as the art cinema of exiles like Yılmaz Güney did, which was the only thing up until then what you got to see in Germany from Turkey at all: Turkish migrants de facto only had one chance to appear in films shown in Germany, namely as a problem.
"Unlike in France and Great Britain, where there was already a brisk production of emigrant films that told exciting and funny stories about their lives as early as the mid-1980s, the gloomy, sad view of the foreign culture dominated in the Federal Republic."
Special case of comedy
A comedy with a specific Turkish-German theme first appeared on the screens in Germany in 1988. It was called Vatanyolu - The Journey Home . The film by filmmakers from Turkey ( Enis Günay and Rasim Konyar ), which is funded by the Federal Republic of Germany, adhered to the predominant problem-oriented point of view in that it took a critical look at the topic of “returning to the country of origin”. In the same year was with Kemal Sunal strips police a half-German, half-Turkish-language comedy that was directed by Serif brats in Germany, seen in Turkish movie theaters. Turkish film had approached the migration issue comedically since the early 1970s. The next German-Turkish comedy Berlin in Berlin (1993) shown in German cinemas came from a director who lives in Turkey. She parodied the German immigrant cinema of the 1980s by simply turning the point of view: a German lives in Berlin on “4 square meters of Turkey”. In 1996, ZDF then showed Gören's police comedy to a German audience for the first time.
Meanwhile, under German leadership, Happy Birthday, Turk! (1992) by Doris Dörrie, based on the novel by Jakob Arjouni, was "the first film that ironically commented on and undermined the clear stereotypes and clichés", albeit less in the form of a comedy, but rather as the dreary German film noir adaptation .
Films from an intercultural point of view
First articulations of the second generation in short and documentary films
The founding of German-Turkish film days and festivals , which took place in Germany from 1989 onwards, promoted not only Turkish film in Germany, which even found its way into German multiplex cinemas in the 1990s, but also, in particular, young filmmakers of Turkish origin in the Federal Republic. One of the first to draw attention to himself from this context was Yılmaz Arslan , who won international prizes in 1992 with his first work, Langer Gang . From 1993/1994 onwards, a whole series of young filmmakers with Turkish roots, often film students from the second generation of Turkish guest workers, began to be successful at German film festivals, initially primarily with short films and shorter feature films. They include Thomas Arslan , Ayşe Polat , Buket Alakuş , Aysun Bademsoy, Ayhan Salar , Hatice Ayten and Seyhan Derin . Fatih Akın had also just started studying with Hark Bohm at this time and made his debut with a short film ( Sensin - You are it!, 1995).
The contents of these films are usually clearly recognizable, but often in completely different ways, with the bicultural background of the filmmakers. Seyhan Derin's German-Turkish family story, I am the daughter of my mother (1996), for example, is bilingual, as is Fatih Akın's romance Sensin (1995). In contrast to Derin's film, the latter is not necessarily geared towards German-Turkish protagonists. Aysun Bademsoy uses her Turkish background in yet another way by documenting the career of a Turkish women's soccer team in Germany with Mädchen am Ball (1995). Thomas Arslan's early works Im Sommer - The Visible World (1992) and Mach die Musik leiser (1994) seem to have nothing to do with his binational origins, but from siblings - Kardeşler (with Kool Savas , 1996) the son of a German and of a Turk to deal with the realities of German-Turkish life all the more intensively.
Turning away from the melancholy “migrant cinema” of the 1980s does not mean that the problems that have been addressed there will be left out in the future: Serap Berrakkarasu , for example, filmed about arranged weddings and violence in marriage ( Töchter zwei Welten , 1991). The difference to earlier representations is a new look at things, which is expressed here, for example, in the fact that “no sacrifice is celebrated”, but new paths are sought between generations and cultures. The same applies to Ayhan Salar's early documentary works In Fremd Erde und Totentraum (1995). This “different view” of German and Turkish realities, which in the future will often be mentioned as a prominent feature of German-Turkish or Turkish-German cinema, also has an impact in the fictional films of the young filmmakers: the multiculturalism spectacle is over, the The focus is now more on the little things of everyday life - in a certain way normality has found its way into the representation:
“Because the films by the Turkish-German directors were made from direct experience, they were able to do without rhetoric and didactics entirely. This is how a cinema of the precise view was created. "
In comparison with works such as 40 square meters Germany , Rob Burns also sees a development here that points away from a cinema of cultural barriers - the path of German-Turkish filmmakers rather leads into a "transnational cinema".
“German-Turkish cinema” becomes evident
At the end of the 1990s, a whole series of long feature films by filmmakers of Turkish origin found their way into German cinemas and received greater approval from both audiences and critics. In Hamburg and Berlin in particular, the new generation of filmmakers, often supported by the ZDF's “ Das kleine Fernsehspiel ” editorial team , managed to raise their profile more and more. After another short film ( Getürkt , 1996) with Kurz und painless (1998), which also received several prestigious film awards, Fatih Akın made a small audience success with 80,000 viewers in German cinemas, which opened the door for the filmmaker to more complex projects. Also Yüksel Yavuzs acclaimed film Aprilkinder (1998) was at least as successful with the audience that he pulled a VHS release by itself. With Lola and Bilidikid (1999), Turkish director Kutluğ Ataman and German actors and sponsors made an internationally acclaimed feature film about homosexual migrants in Berlin, which became a cult film . In 1999 Thomas Arslan was able to distinguish himself as one of the most promising representatives of young German auteur cinema with Dealer , the second part of his Berlin trilogy about young Berlin Turks that began in 1996, and won prizes at the Berlin International Film Festival .
The choice of topics by the filmmakers who were suddenly so successful in Germany showed greater overlaps: both Arslan's and Akın's film success can be described as - albeit differently - studies of a petty criminal migrant milieu. The slipping of a young German Turk into petty crime had already been an issue in Aprilkinder ; This topic was taken up again in 2000 in the film Kanak Attack (based on a book by Feridun Zaimoglu ), which was also able to position itself well in German cinema, and was itself one of the first highly acclaimed feature films by a female director of German-Turkish film, Buket Alakuş's Anam (2001), was set in the criminal drug milieu. Hussi Kutlucan , who comes from the Berlin theater scene and made his debut as the main actor, writer and director of a feature film with Sommer in Mezra (1992), on the other hand, addressed the current situation of asylum seekers in Germany in Ich Chef, Du Turnschuh (1998) as an occasion for a comedy, incidentally similar to the Austro-Turkish feature film Born in Absurdistan (1999), which was made at the same time and which humorously dealt with deportation . The film received in 2000 u. a. the Grimme Prize, but remained the only one of the young German-Turkish films that did not find a theatrical distribution. The film scholar Deniz Göktürk suspects that at this point in time the “anarchism of the Berlin subculture [...] was obviously not yet for the general public”.
Exuberant reactions to the concentrated appearance of German-Turkish filmmakers in Germany and their topics were no longer uncommon in German film critics and the press:
"The Turks are coming ... And they give German film exactly what we've been screaming for for years: real types, real stories and new forms ..."
The desire on the part of critics and film scholars for a way of classifying these phenomena soon led to the coining of the term "German-Turkish cinema":
“Stories about young Turks of the third generation, about their wishes and longings, the conflicts with their own tradition and with the generation of the elderly, who still live strictly according to Muslim laws. Films by directors of Turkish origin, so the unanimous criticism, work on these topics in a variety of ways - with stories that have never been told before and with an "exotic" appeal that sets them apart from the usual monotony of German productions. A new genre was born and finally a new drawer was labeled. [...] Despite all the differences, all of these films have their specific similarities that not only distinguish them from other German films, but also from the early 'guest worker cinema'. "
Mark Terkessidis , too , already in 2000, in an analysis of the changes in the German-speaking cultural landscape caused by immigrants, points to a "German-Turkish cinema" that has now emerged.
Celebrity cinema and cinema stars: arriving in the mainstream
After the cinema of German-Turkish topics in Germany seemed to have become suitable for the mainstream (including the widespread mass success of Erkan and Stefan , who at that time were still posing as a German-Turkish duo, and the great popularity of Kaya Yanar's TV show Was guckst du ?! (from 2001 onwards) can be seen as an indication of an advanced acceptance of cultural products from the Turkish immigrant scene), these films also produced movie stars or were starred from the start. Mehmet Kurtuluş was promoted, for example through the films Akın to a very popular actor in 2008 in the wake on the sunny side was finally allowed to enter the first ethnic Turkish Tatort in the history of Germany's most successful TV crime series. The RTL series Sinan Toprak is the incorruptible (2001) based on an idea by Orkun Ertener was the start of Erol Sander's international career . Other well-known German film and television faces originally from the German-Turkish cinema of that time are, for example, Birol Ünel , Nursel Köse , Tayfun Bademsoy and Erhan Emre . To this day, other actors such as Tim Seyfi , Sibel Kekilli or most recently Oktay Özdemir and Sophie Dal or Sıla Şahin have been able to attract more attention.
In particular, however, the contributions of established German stars after 2000 contributed to the popularization of films by German-Turkish filmmakers in Germany. B. Moritz Bleibtreu , who has had leading roles in such productions since 2000, or Christiane Paul in Fatih Akıns In July (2000). Daniel Brühl received a. a. for Züli Aladağs Elefantenherz (2001) the German Film Award. Actors with Turkish roots, who previously played successfully in German films independently of a specific German-Turkish film scene, now also began to turn to “ethno cinema”. Hilmi Sözer , who has become very well known in German comedy clothes since 1994, began to play, for example, in 2001 for directors of Turkish origin such as Züli Aladag or Yasemin Şamdereli - here mainly serious roles. Ayse Polat, who has since become internationally known for her short films, also benefited Sözer's star qualities on her first long film tour abroad (2000): In a review, the Bild newspaper recalled reviews of old Sözer films à la Voll normaaal (1994) by being effective in advertising attested a "weird story, crazy sayings, personable types, interesting milieu, tearful finale". In addition, the film is also "an effective medicine against the stupid and malicious prejudices of our time". Also Denis Moschitto , son of a Turkish-Italian parents couple was, before he helped first in the German film an established with its participation and intercultural film work with success.
As far as the filmmakers themselves are concerned, Fatih Akın is likely to have achieved by far the highest level of awareness among film artists of Turkish descent in Germany after his second long film In July . At the latest after the outstanding success of his Gegen die Wand published in 2004 (including Golden Bear , 5 Lolas in Gold, European Film Prize , half a million viewers in seven weeks in German cinemas alone, comparably good reception abroad), he was considered the epitome of the general press of a German-Turkish or even migrant cinema in Germany, which had the negative side effect that the cinematic achievements of other migrants were almost pushed out of the perspective of general public reporting, which even the contemporary specialist commentary sometimes showed itself to be influenced by:
"The triumphant advance of the feature film" Gegen die Wand "and the euphoria that goes with it sometimes hide the fact that German-Turkish filmmakers continue to embody exceptional phenomena."
In the same year, meanwhile, the German short film prize winner and today's Hollywood director Mennan Yapo, also the son of Turkish parents, shot a German blockbuster with his first feature film Lautlos (leading roles: Joachim Król and Nadja Uhl ), which in contrast to Gegen die Wand , which is partly still Attributions such as “Migrantenkino” had to put up with, except perhaps in the cast of a few supporting roles that did not indicate any kind of intercultural background and was therefore hardly perceived as a film by a “Turk in Germany”. A number of other German-Turks, such as B. Sülbiye Günar ( Karamuk , 2002), had already won prizes at home and abroad with feature films in previous years. I.a. a scientific thesis at the University of Osnabrück , which was completed in 2006, comes to the conclusion that
"The new German-Turkish filmmakers show great diversity and sovereignty in terms of topic, format, material, but are no longer the exception in German film."
More and more new filmmakers came beyond the short film stage and attracted international attention. Bülent Akıncı, for example, who had already received national awards for The Last Pictures (1999) and A Little Story (2001), received nominations for his first feature film Der Lebensversicherer (2006) at both the Berlin Film Festival and the Moscow International Film Festival Awards.
Retrospectives of the immigrant children in the documentary
A focus of young filmmakers in Germany with a Turkish migration background is, in addition to topics that are more effective for the public, looking back at the migration of their parents, preferably in a documentary film. With Mein Vater der Gastarbeiter (1994), Yüksel Yavuz created a cinematic monument to his father Cemal as early as the first half of the 1990s. Even this early work is exemplary of a more or less conciliatory tendency in the films of the next few years on this topic:
“Here the Kurdish landscape, photographed so intensely that you seem to smell and taste it. There the shipyard, cold, busy and noisy. Yüksel Yavuz does not photograph them with denunciating intentions; he has too much respect for human work and performance. He derives poetic images from this atmosphere of steel and welding sparks. "
Fatih Akın's backward-knit family documentary We forgot to return (2001) is also considered a preliminary study for the 2002 feature film Solino (screenplay: Ruth Toma ), which is now devoted to the history of Italian immigration to Germany, but also verifiable in the documentary that was made earlier Akın's parents' experiences were incorporated. With Import-Export - A Journey into the German-Turkish Past (2005/2006), Eren Önsöz presented a film shown at festivals and on television that traces the history of German-Turkish relations, which goes back much further, based on labor migration. The renowned German documentary filmmaker Marcus Attila Vetter , who barely knew his Turkish father, nevertheless made one of the most important recent contributions to the subject in 2006 with Mein Vater, the Turk , who leads the filmmaker on the search for traces of his roots in Central Anatolia.
The only large-scale fictional adaptation of the history of Turkish immigration to Germany was the period of wishes for a screenplay by Tevfik Başer, which was shown on television one year earlier , and which, following interviews, meant the first deeper examination of the history of their parents for many of the young actors. The three-hour work, staged by Rolf Schübel and produced by Kadir Sözen (who had already approached the topic with his own film Winterblume in 1997 ), received the Grimme Special Prize from the audience in 2005. A successful feature film, which was dedicated to Turkish immigration from the first generation, followed in 2011 with the tragic comedy Almanya - Willkommen in Deutschland by the sisters Yasemin and Nesrin Şamdereli .
Minority cinema in the minority cinema
The films that the cinema produces by filmmakers with a Turkish migration background in German-speaking countries also take into account minorities immigrated from Turkey, some of which the filmmakers themselves belong to. The international attention, for example, of a German-Kurdish-language feature film set in the Alevi milieu such as Episode der Feder (2004) by the Zaza filmmaker Nuray Şahin , which premiered in London and received awards in Germany and Turkey and has since been broadcast on television several times, shows that too a “minority cinema within a minority cinema” can be heard. By dealing with an immigrant minority, more and more trilingual films are being made, including Yüksel Yavuz ' Aprilkinder (1998), as well as my mother, my brother and I , who have been awarded the title “particularly valuable” ! which will be shown in theaters in 2008. The latter comes from Nuran David Calis , a son of immigrant Armenian-Jewish parents from Turkey, who has been working very successfully in the German-speaking theater sector for several years. In particular, a whole series of political films with specifically Kurdish themes by filmmakers from Turkey are to be registered in Germany. a. by the aforementioned filmmakers Ayşe Polat, Yüksel Yavuz and Karaman Yavuz . Even the first Kurdish-language feature film Ein Lied für Beko (1992) by Nizamettin Ariç was a German production by a director from Turkey.
For example culture clash comedy
Of the many genres that filmmakers of Turkish origin have served in recent years, the culture clash comedy deserves special mention, as it was virtually completely unknown in German film production until then. This type of comedy develops a comic plot from the clash of different cultures (hence its name). There is a pleasure-oriented “culture clash” in young German films between German Turks and Turks in Turkey, as in İdil Üner's short film Die Liebenden vom Hotel von Osman (2002), but above all between minorities in Germany and native Germans. A frequent linchpin of these films are intercultural love stories, for example in the hit movie Kebab Connection (2005) based on a script written long before by Fatih Akın and Ruth Toma ( Sinan Akkuş used motifs from it in 2002 for his short film Lassie ) and as My crazy Turkish wedding , a quasi German version of My Big Fat Greek Wedding (2002), was awarded the “best TV film of 2006” . In particular, private television in Germany picked up the international trend of these transnational comedies early on and transferred it to German-Turkish realities, for example with everything faked! by Yasemin Samdereli with citizen Lars Dietrich and Türkiz Talay . With the series Turkish for Beginners (2006 ff.), Public service television later succeeded in adapting the positively entertaining genre, which provided “alternative drafts for a coexistence of cultures”, for an internationally acclaimed German evening series. In addition, the darker side of the “culture clash” continues to find its representation in the film and television of the second and third generation of migrants: A particularly sensational example in 2006 was Züli Aladağ's television film Anger by Züli Aladağ on the subject of youth violence. The 2008 film Chiko by Özgür Yıldırım , which has won several awards, shows the rise and fall of young Turks in the Hamburg drug scene. The fact that the coexistence of different cultural groups in Germany has been seen more and more as normality in recent years, however, is shown by the fact that the last Fatih Akın film Soul Kitchen, which is sometimes classified in the press as a culture clash comedy ( 2009) was now simply referred to by the director as a " Heimatfilm " and many reviewers followed him in it.
German-Turkish, Turkish and German film
After the cinema of young filmmakers of Turkish origin in Germany was for a long time involved to a large extent in the Federal Republic of Germany's film funding structures, so that in some cases it could also be referred to as “compulsory cinema”, a number of opportunities have opened up in recent years that have made migrant cinema more independent to have. On the one hand, the successes since 1998 have enabled some filmmakers to set up their own production companies to implement their projects; Fatih Akıns Corazón International , who has meanwhile also produced or co-produced films by other directors from the Turkish context (e.g. Chiko or the feature film debut by Miraz Bezar Min dît , 2009), and Yılmaz Arslan are or were obviously well-functioning examples Film production , which was responsible for the widely acclaimed short film Angst Eats Seele auf by the Iranian-born director Shahbaz Noshirs.
On the other hand, the reputation that German-Turkish cinema has in Turkey in times of media globalization that is taking place anyway has led to particularly intensive cooperation between Germany and the "country of origin" of filmmakers of Turkish origin who were often born in Germany. Two sensational examples were Turkey's later Oscar proposal for 2008, which Germany helped to produce, Takva (2006) and the entry of the Ministry of Culture and Tourism of the Republic of Turkey at the largest intercultural film festival in Germany, the 2006 Turkey / Germany Film Festival . It is worth mentioning in this context that on the other hand, Maxximum Film Und Kunst, which was founded in Germany in 2001 for the purpose of distributing German versions of Turkish mainstream films, has now, after great successes in Europe, also started to promote films by German filmmakers, for example the culture-clash comedy Evet, I want! in order to bring them to cinemas in Turkey. A Mitosfilm distributor for Middle East cinema founded by the Kurdish-Turkish immigrant Mehmet Aktaş in Berlin is now also producing its own films.
In recent years, however, it can no longer be overlooked that, in addition to those often referred to as “German-Turkish filmmakers”, a number of people of Turkish origin have established themselves in the field of German-language film and television who, due to their topics, are less than “German-Turkish “Perceived. An early example of this group's cultural achievements is the less successful film Felidae (1994), which was based on the highly successful novel by the Turkish-born author Akif Pirinçci . Others are the thrillers of the already mentioned Menan Yappo and Orkun Ertener's scripts for several crime scenes ( In derfallen was awarded the Civis Media Prize) and most recently for the ZDF series success KDD - Kriminal habitual service . In the latter case, you can tell the origin of its author through the knowledgeable Turkish-born detective inspector Mehmet Kilic, who is investigating here alongside numerous other colleagues. The first major film project by Adnan G. Köse Run for Your Life - From Junkie to Ironman (2008) was a film adaptation of the life story of the exceptional German athlete Andreas Niederig with Max Riemelt , Jasmin Schwiers , Uwe Ochsenknecht and Axel Stein . The son of a Turk and a German had, however, dealt with German-Turkish problems in his previous regional theater and short film work, which is also noticeable in his feature film debut. Bora DAGENIN , head writer of Turkish for Beginners , on the other hand, has mainly written German film and television comedies, such as the Til Schweiger film Wo ist Fred? (2006), a season of the RTL series Schulmädchen , the ProSieben Funny Movie Eine wie keine (2008) or the award-winning series Doctor's Diary (2008), as well as the Swiss Güzin Kar , from the German TV comedies such as Ein verreckendesoffer ( 2006), who also co-wrote the screenplay for the successful youth film Die Wilden Hühner (2006) based on Cornelia Funke . In addition to her film projects, Seyhan Derin has recently directed the most successful German soap opera Good Times, Bad Times . The journalist Kamil Taylan , who first got a foothold in Germany with migrant issues in the early 1980s, is now one of the most renowned documentary filmmakers on ARD. Since 1969 the German film of the now world-renowned works foley artist Mel Kutbay , the number of successful feature films like Das Boot (1981) and The Name of the Rose (1986) set to music and the mid-1980s in Munich the first recording studio, are specifically targeted at sound recordings the film is aligned.
Artistic and content-related peculiarities
Intersections of content, multilingualism and occasionally a Turkish influence
Despite the polyphony and diversity of “German-Turkish cinemas” (the term suggesting homogeneity actually hardly does justice to the subject), some “specific similarities” can be identified which the films belonging to this “genre” from German cinema, in terms of internal differentiation into However, they also distinguish certain points from early migrant and migration cinema and even works by filmmakers of Turkish origin, which, due to conventional German topics, would not be ascribed to a German-Turkish cinema, are often characterized by rather differentiated roles of foreigners (then in the supporting characters).
The most obvious common feature of the films by and about Turks in Germany, especially in this context, is their bilingualism, sometimes even in three or four languages, besides German and Turkish particularly often Kurdish, but also languages of other minorities in Turkey or universal languages such as English. This is certainly related to the real life realities of migrant minorities in Germany: "The majority (German-Turkish filmmakers) grew up bilingual, but it is difficult to say who regards which language as his or her mother tongue".
In addition, Mark Terkessidis sees similarities in terms of content and design, particularly in the first films of the young German-Turkish cinema that "exploded" in 1998. For example, a “subjectivity of young men in the“ survival subculture ”, into which the entire production around 1999 could be classified, is in the foreground. Another characteristic in this phase is "that in view of the quality of the exclusion in the Federal Republic of Germany the struggles of migrants obviously cannot (yet) be won". Many films ended in either death, prison or return. If the latter is no longer categorically true today, the “subjectivity” described by Terkessidis in German-Turkish film around 1998/1999 should be classified in a broader category, namely that of the already mentioned “cinema of the other view”: More than in conventional German Film, the films of the German Turks are about the intermingling of cultures and processes of encounter. The fairy tale of life between two cultures is now largely rejected as an attempt to explain this phenomenon, but rather it goes without saying that transnational perspectives are spoken of.
The more recent research has also shown that the narrative approach to hybridity and performativity in young German-Turkish cinema shows characteristic congruence:
“If in the colonial or old diaspora stories of resistance, suffering and loss of home - here diaspora means dispersion and dispersion of an originality and belonging - were in the foreground, the new diaspora concept stands for narrative new constitutions of subject and culture, which performative and hybrid no longer mourn work performs. "
Rather, in the films "global orientation and identity formation are lived and encouraged to young global citizens".
“The bilateral experience [...], during which the émigré cinema had to stand still in its first phase, seems to pass into a fundamentally transnational openness. This would not only treat the identity shock of growing up migrant children, but also recommend and guide the globalizing education of the human race. "
To identify artistic and aesthetic specifics within German-Turkish cinema is hardly possible in view of the abundance of existing productions. Rather, it must be noted that the range of styles is similar to country cinema: Fatih Akın is known to be influenced by American genre cinema, Thomas Arslan stands in the tradition of the French “Nouvelle Vague” - just to show the contrast between two of the most successful filmmakers . A specific feature is the here and there noticeable influence of the until then relatively insignificant film culture of Turkey in the German-speaking countries (but not internationally) on German filmmakers of Turkish descent. This is most likely to be felt poetologically . For example, conceptual details relating to the narrative structure of the first German-Turkish film 40 qm Deutschland are described as “arising from the narrative preference - or weakness - for the Turkish melodrama”. Knowledge of Turkish cinema and Turkish viewing habits is seen by today's generation of filmmakers primarily as an asset. In the documentary Diary of a Film Traveler (2007), Fatih Akın states, for example, that in the conception of his works, in addition to the German and “German-Turkish” reception, he can also consciously consider a possible inclusion in Turkey. This transnational approach also explains the success of German-Turkish films in other countries.
In addition to Turkish films, when the second and third generation of Turkish migrants grew up in the Turkish community in Germany, Indian musicals in particular (long before the Bollywood boom in German majority society) were “extremely popular”. The influence of these on German Turkish filmmakers has not yet been studied, but again Fatih Akın told the sometimes abrupt singing his main characters in his early works short and painless and in July in DVD - Audio commentaries already with this influence, be against the wall was also often a "Opera" compared. More recently, Ahmet Taş, a filmmaker from the generation of those who grew up with Indian music films in Germany, has been successful with a "documentary musical" at several film festivals, and the film musician İpek İpekçioğlu has repeatedly pointed to the special influence of Turkish versions of Indian received in childhood Musical productions based on their particular style of music.
Significance for the country cinema
From the politicizing moment to the figurehead as well as the cultural basis of integration
In addition to its artistic importance (renewal of the film landscape), German-Turkish cinema has a social impact both in Germany and now in Turkey. This socio-political phenomenon results in a certain responsibility. Just as these films have always had the chance to break down prejudices between a German-influenced majority society and its Turkish minority (or now also between the Turkish and their minorities), they can lead to the consolidation of the same by the fact that what is projected onto a minority by a majority society is simply "quickly generalized". Films that can position themselves "beyond prejudices, ideologies, biases [...] towards friends, strangers, countries and cultures" and yet are not apolitical, take their responsibility seriously. In particular, the importance of "identification offers [...] that let the cultural context of the figure (s) take a back seat and emphasize their positioning (s) as subject (s)" is mentioned in the specialist literature.
As early as the late 1990s, when a so-called German-Turkish cinema became evident, some critics were drawn to the view that "Turks (would be) the only ones in Germany (...) making contemporary political films". After all, film scholars later admitted that the works of German-Turkish filmmakers had noticeably increased the tendency towards politicization of German films, which had previously been dominated by entertainment comedies for a long time. In addition, in recent years German-Turkish film has seen the contribution to European unification as one of the sub-disciplines of intercultural literature that has received particular international attention . The first award of the European film prize Lux by the European Parliament in 2007 to the German-Turkish production On the Other Side (2007), which was right at the top of the favorite lists of film critics worldwide , gave an indication of this .
According to a current research project on “Narrative Diaspora in German-Turkish Literature and German-Turkish Film” at the University of Konstanz in 2008 , the explicitly German stories that German-Turkish cinema and German-Turkish literature have told in recent years also have “Inscribed cultural knowledge formations into German art production and history”, which is what German cinema “fundamentally changed and will change at the beginning of the 21st century”. In this context, reference is made primarily to the influence of German-Turkish films in terms of cultural theory and poetology.
In addition, the cinema of filmmakers of Turkish origin, even if the continuation of stereotypical roles continues to this day, had a positive influence on a realistic representation of "foreigners" in German film and television: in particular that with the onset of the "German-Turkish cinema boom" of Tayfun Bademsoy as "Foreign Faces" founded acting agency International Actors , makes this structurally clear. In Germany it was "often (was) customary to be hired just because of one's nationality and then to use clichés." Actor Fatih Akın also supports this assessment when he states that this was one of the reasons why he started making his own films in 1995 , "Because he no longer wanted to play the same 'Turk on duty'". A prominent example of changes in consciousness, also on the part of German actors, is the transformation of a comedian like John Friedmann , who initially successfully mimed the cliché-laden proll Turk Erkan for years (see also the forerunner Taxi Sharia ), before he used this image in films by Turkish directors from 2007 began to break effectively by suddenly portraying the roles of foreigners without any clichés.
Numerous national prizes have been awarded to films and productions by German-Turkish filmmakers and filmmakers, which meanwhile often represent a special quality within German film and television production. In 2008, for example, productions as diverse as Eine Another Liga (2005) or the crime series KDD - Kriminallängedienst (2007) were awarded the Grimmepreis. In the previous year it was u. a. Anger and Turkish for Beginners . These few works should only be named as a representative of the numerous national honors of German-Turkish filmmakers but also generally films on German-Turkish topics since the beginning of the millennium, be it at the Grimme Prize, at the Berlinale, at the German Film Prize or other important film festivals be.
From an international point of view, directors like Fatih Akın now make a major contribution to the reputation of German film. In Turkey, his 2007 film On the Other Side , actually an Arthaus film, had a theatrical release similar to a blockbuster . The view "Some of the richest films coming out of Germany at present are directed by German-Turkish (Turkish-German?) Filmmakers" is represented by the film professor Roger Hillman ( Australian National University ), in France Akın has been valid since Gegen die Wand many even call it “the most important European director”. The latest official German submissions for the Oscar for “Best Foreign Language Film” also point to the fact that the cinema of filmmakers of Turkish origin is now also seen in the Federal Republic as a special figurehead for national cinema: 2008 with On the other side , one in Germany and Turkey-produced film and Die Fremde (Director: Feo Aladag ) 2010, which was produced by Züli Aladag.
Due to the significant increase in German-Turkish co-productions in which German filmmakers of Turkish origin are significantly involved, direct effects on Turkish cinema have also been recorded in recent years, but these have not yet been examined in more detail. Examples are Neco Çelik's (according to Vanity Fair of " Spike Lee Germany") staging of the Turkish feature film Kisik ateste 15 dakika (2006) and Fatih Akın's already mentioned co-productions in 2006 and 2007 as well as his and Birol Ünel's participation in the Turkish ensemble film called Theft alla turca (2005). According to Lennart Lehmann from Qantara.de , “Turkish cinema, both in Turkey and in Germany, [...] is in motion. The development seems completely open. "
See also
- List of German-Turkish authors (also includes film authors)
literature
German speaking
- Ömer Alkin (ed.): German-Turkish film culture in the context of migration. VS Springer Verlag, Wiesbaden 2018, ISBN 978-3-658-15351-9 .
- Kim Brandt: Femininity Concepts and Cultural Conflicts in German-Turkish Film. On the integrative effect of films . VDM, Saarbrücken 2007, ISBN 978-3-8364-2447-9 ; AV Akademikerverlag, Saarbrücken 2012, ISBN 978-3-639-41598-8 .
- Tunçay Kulaoğlu: The new “German” film is “Turkish”? A new generation brings life to the film landscape . In: Filmforum . 16, 1999, pp. 8-11
- Claus Löser: Berlin on the Bosporus. To the success of Fatih Akıns and other directors of Turkish origin in the German film landscape . In: Ralf Schenk, Erika Richter, Claus Löser (eds.): Apropos. Film 2004. The yearbook of the DEFA Foundation . Bertz + Fischer, Berlin 2004, pp. 129–146
- Margret Mackuth: It's about freedom. Intercultural motifs in Fatih Akıns feature films . VDM , Saarbrücken 2007, ISBN 978-3-8364-2561-2 .
- Martina Priessner: Discarded Realities - New Images, Transculturality and Representation of Film Art in the FRG . In: Engelschall, Hahn, Pieper, Zülch (eds.): Resistance movements - anti-racism between everyday life and action . Association A, Berlin 2005, ISBN 978-3-935936-34-7 .
- Diana Schäffer: German film with a Turkish soul. Developments and tendencies in German-Turkish films from the 1970s to the present . VDM, Saarbrücken 2007, ISBN 978-3-639-40253-7 .
- Ekkehard Ellinger: History of Turkish Film . deux mondes, Mannheim 2016, ISBN 978-3-932662-14-0 .
English speaking
- Daniela Berghahn: No place like home? Or impossible homecomings in the films of Fatih Akin . In: New Cinemas , 4: 3, 2006, pp. 141-157
- Daniela Berghahn: Turkish German dialogues on screen . In: Daniela Berghahn (Ed.): Turkish German Dialogues on Screen , Special issue, New Cinemas , 7: 1, 2009, pp. 3–9.
- Daniela Berghahn: From Turkish greengrocer to drag queen: Reassessing patriarchy in recent Turkish German coming-of-age films . In: Daniela Berghahn (Ed.): Turkish German Dialogues on Screen , Special issue, New Cinemas , 7: 1, 2009, pp. 55–69.
- Rob Burns: Turkish-German Cinema: From Cultural Resistance to Transnational Cinema? In: David Clarke (Ed.): German cinema. Since unification . Continuum, London / New York 2006
- Deniz Göktürk: Beyond paternalism. Turkish German Traffic in Cinema . In: Tim Bergfelder, Erica Carter and Deniz Göktürk (eds.): The German Cinema Book . British Film Inst., London 2002, pp. 248-256
- Stan Jones: Turkish-German cinema today: A case of study of Fatih Akın's Kurz und painless (1998) and Im Juli (2000) . In: Guido Rings, Rikki Morgan-Tamosunas (Ed.): European Cinema. Inside Out. Images of the Self and the Other in Postcolonial European Film . Winter, Heidelberg 2003, pp. 75-91
- Silvia Kratzer-Juilfs: Return, Transfer, and the Constructedness of Experience in German / Turkisch Documentary Film . In: Diane Wiedmann, Janet Walker (Eds.): Feminism + Documentary . University of Minnesota Press, Minneapolis / London 1999, pp. 187-201
- Giovannella Rendi: Kanaka spoke? German-Turkish women filmmakers . In: gfl-journal . No. 3, 2006
Turkish speaking
- Aydın Üstünel: Berlinale'nin Türkleri . In: Qantara.de . 2008
Web links
- Narrative diaspora in German-Turkish literature and in German-Turkish film. Another German literary and cultural history . Research project at the University of Konstanz
- Both as well as: The “German-Turkish” cinema of today . filmportal.de
- Métissage: Image movement between cultures - the German-Turkish cinema of the third generation . Goethe Institute 2005
- Claus Löser: Berlin on the Bosporus: Varieties and backgrounds of German-Turkish cinema . Film Service, 2004
- Georg Jansen: From migrant cinema to mainstream . Beijing Foreign Studies University, May 2010
Individual evidence
- ↑ a b c d Berlin on the Bosporus: Varieties and backgrounds of German-Turkish cinema . ( Memento of the original from March 15, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Film service
- ↑ a b c d e f g Diana Schäffler: The cinema of double cultures - migration as a cinematic topic in German-Turkish film based on selected examples . Munich 2005.
- ↑ Urmila Goel: Lola and Bilidekid . (PDF; 79 kB)
- ↑ Roger Hillman : Fassbinder never came to Istanbul . In: Humboldt Kosmos . July 13, 2007
- ↑ Both as well as: The “German-Turkish” cinema today . ( Memento of the original from September 14, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. filmportal.de
- ↑ a b apropos film 2004: “The yearbook of the DEFA Foundation” . Bertz Verlag, Berlin 2004
- ↑ Cinema and Migration in the FRG . ( Memento of the original from March 19, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. filmportal.de
- ^ A b c Rob Burns: Turkish-German Cinema: From Cultural Resistance to Transnational Cinema? In: David Clarke (Hrsh.): German cinema: since unification . Continuum, London, New York 2006.
- ↑ a b c d Deniz Göktürk : Migration and Cinema - Subnational Compassion Culture or Transnational Role Playing? In: Carmine Chiellino (ed.): Intercultural literature in Germany: A manual . Metzler, Weimar 2007, p. 341.
- ^ Glossary: Turkish-German cinema . Migrant and Diasporic Cinema in Contemporary Europe
- ↑ Migrant self-images. German Historical Museum
- ↑ List of the film prizes for "Journey of Hope". Internet Movie Database , accessed May 22, 2015 .
- ^ A b Moritz Dehn: The Turks on duty . ( Memento of the original from June 17, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. In: Friday , March 26, 1999.
- ↑ Stefan Reinecke : Four square meters of Turkey. Berlin in Berlin - a cinematic melodrama by Sinan Çetin . In: Frankfurter Rundschau . May 20, 1994.
- ↑ a b goethe.de (PDF; 187 kB)
- ↑ Both as well as: The “German-Turkish” cinema today . ( Memento of the original from December 22, 2008 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. filmportal.de
- ^ Romain Geib, Margret Köhler: The Other View - German-Turkish filmmakers are changing the cinema . In: Film- und TV-Kameramann , No. 12, 2000, pp. 86-109.
- ↑ a b Mark Terkessidis : Migrants . Rotbuch 3000, Hamburg 2000, p. 90.
- ^ Bild-Zeitung quoted from 3sat.de
- ↑ migration-boell.de ( Memento of the original from October 23, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Accompanying text for the time of wishes . ( Page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (PDF) Film factory
- ^ Christian Bartels: Turkish for Beginners: High Gag density in a German-Turkish family . ( Memento from January 19, 2009 in the Internet Archive ) Netzeitung , March 16, 2006
- ↑ suedkurier.de ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Ju-Bong Lee: The Change in German Film of the 90s . (PDF) Dissertation 2006, p. 23
- ↑ freitag.de
- ↑ Both as well as: The “German-Turkish” cinema today . ( Memento of the original from September 14, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. filmportal.de
- ↑ a b Mark Terkessidis : Migrants . Rotbuch 3000, Hamburg 2000, p. 90
- ↑ Deniz Göktürk : Migration and Cinema - Subnational Compassion Culture or Transnational Role Playing? . In: Carmine Chiellino (Ed.): Intercultural Literature in Germany. A manual . Metzler, Weimar 2007, p. 341
- ↑ Diana Schäffler: The Cinema of Double Cultures - Migration as a cinematic theme in German-Turkish film based on selected examples . Munich 2005, p. 340
- ^ A b c Narrative diaspora in German-Turkish literature and in German-Turkish film: Another German literary and cultural history , research project at the University of Konstanz
- ↑ de-cn.net
- ↑ a b cross-culture-music.de ( Memento of the original from October 23, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Barbara Frischmuth in conversation: The Alevis are very disappointed . In: Frankfurter Allgemeine Zeitung , January 4, 2008
- ↑ qantara.de
- ↑ Claudia Bulut: From the guest worker to the police officer . In: Schatz, Holtz-Bacha, Nieland: Migrants and the media. New challenges for the integration function of press and radio . Wiesbaden 2000, pp. 253-264
- ↑ Harald Martenstein : "Me boss, you sneaker". Films with dual citizenship: Turkish cinema on its way to the German present . In: Der Tagesspiegel , May 13, 1999.
- ↑ Ju-Bong Lee: The Change in German Film of the 90s . (PDF) Dissertation 2006, p. 23
- ↑ Karin E. Yeşilada: German? Turkish? German Turkish? How Turkish is German-Turkish literature? - Heinrich Böll Foundation
- ↑ civismedia.eu ( Memento of the original from May 1, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ spiegel.de
- ↑ Moritz Dehn: The Turks on duty . Friday , March 26, 1999, accessed on July 16, 2020 .
- ↑ Alexandra Knape: Actors from 52 nations in the file . In: Berliner Zeitung , July 1, 1999.
- ↑ Turkish award blessing for On the Other Side . ( Memento of the original from November 9, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. TV Today
- ↑ Roger Hillman: Australian National University ( Memento of the original from July 31, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. .
- ^ Cinema , February 2008
- ↑ Lennart Lehmann: The filmmaker's fear of the audience . Qantara.de , 2005
