Transnational Turkish Cinema

Abstract

Transnational Turkish Cinema emerged together with other branches of art as a result of Turkish workers who went to work temporarily to Europe and then settled there. Although Transnational Turkish Cinema was an immigration cinema in the beginning, in time, it has changed its language and content proportionally to the developments experienced by the workers there. Transnational Turkish Cinema, which is based on the inability to adapt to the country they are in and the problems it brings, in a way, has filled the gap in the field that Yeşilçam did not or could not do at the beginning. Transnational cinema, which developed with the films made by the second and third generation immigrants, the children of the first to go, has now gained a different perspective with the films made by today's representatives. In this study, the changes that Transnational Turkish Cinema, which was formed within the framework of international worker migration, has undergone since its beginning years were examined. In the beginning and development stages of the study, Transnational Turkish Cinema was defined through the problems experienced by Turkish workers who went to work in European countries since the 1960s, and the films produced within the framework of harmony. Comparative analyzes of the films of the second and third generation directors born and raised in the country of immigration and the previous period were evaluated through the representation of the characters in the stories and the change in the narrative. Transnational Turkish Cinema also has a sociological importance as it mirrors the change over time of the immigrant class living in the country where the films are made. In the study, it was also tried to analyze this change through films.