Both Ceylan and Akinâ€™s visions of Istanbul are haunted by Beyoglu; both as the site of Istanbulâ€™s contemporary cultural regeneration and by unspoken histories repressed by the Republicâ€™s offical rhetoric of Turkish identity. In contrast Akin and Winterbottomâ€™s heterotopias of the hotel and the hospital provide possible metaphors for these dislocated global identities.
This paper will engage with a series of questions. What is the (imagined) place created between the viewer and the screen; or is it a non-place? Do the identities/ memories created there produce a â€˜third spaceâ€™? This paper uses Winnicot; Soja and Bhabha to ask what that third space might be and its consequences for a contemporary global Turkish identity. If these films depict a (Freudian) screen memory of dislocated subjectivities then what is being suppressed and sutured?