Both Ceylan and Akin‚Äôs visions of Istanbul are haunted by Beyoglu; both as the site of Istanbul‚Äôs contemporary cultural regeneration and by unspoken histories repressed by the Republic‚Äôs offical rhetoric of Turkish identity. In contrast Akin and Winterbottom‚Äôs 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 ‚Äėthird space‚Äô? 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?
Inter: A European Cultural Studies : Conference in Sweden 11-13 June 2007
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