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( '.Hapter 11: '•. pa1 IH·ip:111ts li ve on social welfare or belong to the group of lowcr im:o111l' "'' 11 l,1·rs. Tl'I '. : From 2010 until 2013, 75 information evcnts werc rcalizcd i11 18 ( '. hapter 11: "Rewriting" Turkish-German cinema from the 1·;11111111s 111' Switzcrland. These events aimed to increase knowlcdgc abo111 th1· hottom-up: Turkish emigration cinema 1111111111:-. uf"sllloking, to cncourage situational prevention (i.c. in cl ubhousl:s). 111 ~arrnl'.lhl'll thc intcntion to stop smoking, to changc tbc smoking bclwvinr Ömcr Alkjn .11 lu11rn· :111d lo promote smoking ccssation. A total of2799 pcrson took pnrl , 1111' lllllllhl'I' ur participants in an event ranged from 7 to 350 pcrsons. l ntroduction l\houf 500 part icipants at the first 21 events wcrc tcstcd bcfon: a11d 1 Films from Germany dealing with any aspect of Turkish-German yl':u afkr 1111: l.'Vcnl. Thcir knowlcdge about the hazards of smoking and lhl'll 111 igration, such as the box-office successes Fack Ju Göhle (2014) and n 1l1rnl at1i111dc toward smoking increased significantly. Most of'thcm ah\·;11ly :l /11111nva - We/come to Germany (2011) are often considered as "Turkish­ l\lll'\V aho11t thc hazards of passive smok.ing. At homc thc smoking plan·~ c;,·mu~n cinema ". Nevertheless, what first comes to mind with this 1'11:11wnl : Thc pmticipants rcportcd that they incrcasingly smokcd 011 llll' prohkmatic tcrm of "transnationalism" in thc field of film (Higbee & Hwee, h11lrn11y :111d stoppcd smoking in the living room or in thc kitchcn. Thc 11t1111l11·1 .WIO) arc thc internationally celebratcd films Head On (2004) and Edge of of pnsons in lhc f'amily or circlc of friends who smokcd dcr1\·11sl·d l /1•t11•c•11 (2007) by Turkish-German dircctor Fatih Akin. Howcver, the tcrm is ''l',lli flrnnt ly fro111 11 to 12. Among thc participants thc proportion or SlllOlü'l '\ to hc qucstioncd. Which parameters determine the bclonging of a film to 1 kll 1'r11111 ~0. l 'Y., (11) IO 40.3 Yi> (t2). T11rkish-Gcrman cinema? rs a film by a German director with Turk.ish Wl· thl.Tdi1rc suggcst that thc tobacco prcvcntion cvcnts contrihuf t•d 111 11 111igrat ion background already a Turkish-Gennan film due to the transcultural 111>1111:11iw d1:111gc in thc Turkish and Kurdish communitics. In addition. lhl'.Y hiographical rcfcrcncc of the director, even if the film does not contain any w1·11· l'Sst·nfial li>r rccruiting thc patticipants in thc TSCP. Parlicipanls in .1/ rl'fi.Tc111.:cs to thc social reality of Turk.ish migration, as it is the case in the 11111 or I'/ TS< 'l's, wen.: rccruitcd through thcsc outrcach-cvcnts wi1hi11 llll' l lollywood mystcry film Premonition (2007) by director Mennan Yapo - 1·111111111111i1 it·s. whid1 would bc an cssentialist and biologistic understanding of national 'l'S< 'I': 'l'hl' succcss rate of thc samplc at thc final follow-up slagl' w11~ 1·i 11l'll1a? Fora discussion of the term it is crucial to analyse comprehcnsively ·,11q111si11gly high. This rcsult is parlicularly rcmarkablc hccausl.' our s:1111pk lhl· hislorical contcxt. Thc fact that this does not bappen becomes apparent in \\'a:, l'lt:ir:irll.'l'izcd hy slrong disadvantagc and psychosocial v11l11l·r:thilily lhl· 111argi11al position ofthc Turkish films in the discourse regarding Turkish­ (1' ~·. • hl·l·ausc o f' prior political pcrsccution. incarccration, lorlurl\ inv11lidi1y. < in111a11 c.:incma. Thc Turkish films about emigration from the l 970's and 80's lnw sol'i11n:o11olllic slatus clt:.) as wcll as a high mca11 1111111hcr or riglll l'ffl''< hy Turkish dircctors likc Scrif Gören or Yavuz Figenli are not considered as :.11111 1, nl pn day. 11p:111 of' this lransnational film history. But 'Turki sh-German film ' history Tl'I '. : Thc T Pfa, cl'lcctivc in incn:asing knowlcdgc aml a niliral 11111111111' hus alrl.·ady attractcd a considcrable amount of academic interest (c. g. Bums, lnwanls s111ok i11g, wcrc also crucial l'or rccruiting participa11ts i11 lhl· TSI 'I' !OOc.. 2007. 2013, ( iükli.irk, 2000a, 2000b, Ezli, 2009, 2010, Hai ft, 201 1, Tlll'l't'fi>rl' tht• lwo i11tcrvc11tio11s (TS< '(> aml TPI ~) should ht: co111bi11t·d. l lu~ t· ,'I< Mc1111cl, 2012) without rcally considering what thc tcrm actually ( >wrall, lhl· prcsc11I study rcsults lcad to lhc co11l'lusio11 lhal, 11llh11111:!h 1d1·1 s lo. 1 want lo critiquc such writing bccausc I will argue that it rcproduccs v11hll'1 ahk groups in thc 111igrant populatio11 in Swilr.l.·rlaml Sl'l'tll t11 lw h11m'l'llfris111 and an cpistcmological onc-sidcd-ncss. ßcforc givi11g diff1rnl1 lo n·al'lt a11d lrcat. thc ouln;ach slratl.·gy li>r n·cr11i111w111 1111d 1llJ.1.llllll'llls filr a 111orc comprchcnsivc undcrstanding of Turkish-(icnnan lllfq•,ntti11 11 of Sol'ial, rnltural. sociocl'Oll<>lllic a11d 111igratioll-Slll'l°i fil' ll~pl'l ' lll 1 1111·11111. wltidi i11d11dcs Turkish cmigration cincma. it is uscrul to undcrstand 111111 lht• s111oki11g n·ssalion prngr:1111s and prt·w11li1111 m·tivilit·s p1e11h1n• tlll' d1 srnssio11s su1To1111diug thc acad1.:111ic writing of thc history of'Turkish­ l'I krliVl' n·s1ilts. Th11s, ro111h iunl i11tcrw11tious an· pla111wd 111 lw 1111t < i1·11111111 l'illl'l1ia lirsl. II ofli.·rs :111 i11sii.d11 inlo lil111 hislory that can bc rcad as 11111 odm·t·d t11 ol hn llli~',l'anl ~'.l'Ot1ps. 11 1w11 '' "~'.l' pron·ss ol' lhl· apprnpriall' n·pn·sl.'llfalirnis of' T11rkish t•111igra11 ts III ( i1'l llllllly . 11.a II~ Prccursors of Turkish-Gcrman cincma? Fassbindcr's "e11lig lrte11ed Fassbinder focusses on ':fi"aKile characters from the social periflli<'1T. victimology" whose socialfragility (a widow, a Greek /abour migrant, a black Moro1 ·1·1111 migrant) and multipositionality still shows contact to the social cent1w11. '/111., Several decades have passed since Turkey and Germany signed a labour rceruitmcnt treaty and the first Turkish cmigrants aiTived in Germany. avoids that the characters are positioned as victims" (cf. Ezli, 2012: 94 ). t\ 11d Nevertheless, even after the fourth generation of emigrants growing up in this refusal to show his characters as pure victims refuses to insisl in 11 Ge1many thc relation between Turkish migrants and thc German population presentation of social reality which could reproduce the victimisation oflhl·M· outsiders not only on a level of fictional representation, but - duc to thc cl"li:rl is characterised by constructions of alterity with which cultural differcnccs of representations to havc impact on and to create social realities (cf. Schalfr1 still pcrsist (Beck-Gcrnsheim, 2007). This problem of pcrcciving pcoplc with Turkish migration background as 'foreigners' or 'others' due to differenccs 77) - on a levcl of social reality. Yet, the later films dealing with the issue ofTurkish-German e111igrali1111 in religion, language and visuality (headscarf and ethnic differenccs like walk right into this trap of the '"logic ofrepresentation" and prescnl migr:1111:. black, dark-brown hair etc.) characterises the thematical orientation of Turkish-Gennan cincma in its beginnings. The films focuscd on thc as almost mute victims. problematisation of thc economic and social situation of thc cmigrants - but First stagc of Turkish-Gcrman cinema: Thc "logic of also on the difference between Turkish and German culture. Onc of the first representation " directors dealing with such issues of othemess was Rainer Werner Fassbinder. Katzelmacher (1969) and Ali: Fear Eats Soul (1974) were the first films, As one of the first dircctors, Hehna Sanders-Brahms teils thc slory 111" 11 which addrcsscd labour migration to Germany. In both films Fassbinder Turkish emigrant: Shirin 's Wedding (1976) is about a woman or thl' s1 1111l' refuses what Özkan Ezli identifies as "the logic of representation" for latcr name, who flees from her village in Turkey to Cologne, aftcr hl'r 1:1111i1.v Turkish-Gennan fi lms: a strategy to present characters of the films as married her off against her own will to a custodian. Shirin 's aim is lo littd h1·1 representatives of the specific cultural and national bclonging through film­ childhood love Mahmut in Cologne and to marry him. Howevcr, tragic ~·w111..... aesthetical and narrative mcans (Ezli, 2009: 213). Katzelmacher teils the story e.g. the loss of her employmcnt in the factory and rape, forcc her righl i11h1 of four Bavarian pairs that project their sexual, social and psychological fears the a1ms of a pimp. Hel ma Sanders-Brahms femi nist film prcscnts a 11arra111111 onto the Greek migrant workcr Jorgos and Fassbinder's reknowned film Ali: which characterises the work of scveral other Turkish-German li lms or llw Fear Eats Soul confronts the viewer with the dublc tabooed and socially next ten years and further: the emigrant is a victim, suffcring fro111 lt1 s ostracised love betwccn the old German widow Emmi and the black situation in a foreign land, kcpt in between two incommensurable cullun·o.;, 111 Moroccan labour migrant Ali. The inventive constcllation of the relations which the Ge1man onc is modern and enlightened whercas thc olltn " between the characters unveil an interest in the processes of contructions of patriarchic, traditional and archaic. In the mid-1980s, Turkish director "l\·v l 1~ otherncss and not in a presentation of the social reality. Fassbinder reflects Baser filmed 40 Square Meters of Germany (1985) which illusl r:tlcs wl111 1 the stereotyping and racialisation of tbe presented migrants - e.g. Fassbinder Özkan Ezli called the "logic ofrepresentation ". The protagonists or lltl· filt11 changed the national background of the protagonist in his Ali: Fear Eats Soul are the newly married Turkish couple Turna and Dursun.
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