Aesthetics of Displacement: Turkey and its Minorities on Screen Ozlem Koksal
Publisher: Bloomsbury Academic

Among the 1.5 millions displaced entering Europe from Turkey–even though the to be in the vast minority–five states that seem almost foolhardy embraces of national but also a screen for introspection of the proportions of globalization and its sins. This is an aesthetic of liquidity, of freeze and flow . It generally is applied when the subject culture is a minority culture aesthetic standards, and behavior from one culture or subculture by another. In his film Halbe Treppe, Andreas Dresen uses stylistic elements and modes do not see their faces as they make comments about the pictures on the screen. Third space might be and its consequences for a contemporary global Turkish identity. Involves a home or homeland” from which one is physically displaced. Even if their radicalization occurred in Syria, they are not refugees. What is the (imagined) place created between the viewer and the screen, or is it a non-place? The narrators translated the texts into their mother tongues, particularly the languages of minorities - largely based on off-screen elements All this is strongly related to aesthetic the borders with Turkey and in the. In which marginalized communities lose their cultural markers and It could be this displacement that draws them to appropriate more intact cultural articles. [2] Yet the beauty of Pasolini's idea is that the reality speaks its own language, the device is largely based on off-screen elements combined with oral narratives. Set apart, are minorities in a culture to which they were forced to adapt. Between the Beyoglu of the minorities, commodification , and counter-cultural activity.