Reframing 'Gastarbeiter' Migration: Family, Photography and Cultural Memory in Almanya — Willkommen in Deutschland.
Interpreting it as constitutive and representative of the film's exploration of cultural memory processes, this article identifies an abundance of frames in Almanya — Willkommen in Deutschland. Visual frames — frequently in the form of photographs — abound in the film. At the same time, the film's n...
| Publicado en: | Oxford German Studies Vol. 52; no. 2; pp. 276 - 295 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2023
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=164224789&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 164224789 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00787191 1UJG jtl: Oxford German Studies issn: 00787191 maglogo: N pubinfo: dt: Jun2023 vid: 52 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 164224789 10.1080/00787191.2023.2194181 ppf: 276 ppct: 19 formats: tig: atl: Reframing 'Gastarbeiter' Migration: Family, Photography and Cultural Memory in Almanya — Willkommen in Deutschland. aug: au: Leworthy, Paul affil: University of Edinburgh su: Collective memory Structural frames Photography Frames (Social sciences) Families Germany Türkiye sug: subj: Germany Türkiye Collective memory Structural frames Photography Frames (Social sciences) Families keyword: Almanya — Willkommen in Deutschland Cultural memory Family Framing German cinema ab: Interpreting it as constitutive and representative of the film's exploration of cultural memory processes, this article identifies an abundance of frames in Almanya — Willkommen in Deutschland. Visual frames — frequently in the form of photographs — abound in the film. At the same time, the film's narrative structure entwines present and past temporal frames, with the latter embedded into the former through acts of intradiegetic narration. As well as accentuating the essential role played by narrative in present constructions of the past and pointing to the family as a key 'social frame of memory', both the visual and structural frames in the film accentuate the limited perspective of any retrospective account, which invariably frames the past in a specific — and selective — way. I also expose that Almanya — Willkommen in Deutschland is memory-productive as well as memory-reflective: the film does not only illustrate cultural memory processes in action within the narrative, it also contributes a new narrative about 'Gastarbeiter' migration from Turkey to Germany. Considering the film's popularity with audiences in Germany as evidence of the broad reach of its memory narrative, I conclude that the film constitutes a self-conscious and situated, constructive and successful contribution to twenty-first-century German cultural memory. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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