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Mapping Identity and Identification Processes

Approaches from Cultural Studies

Edited By Eduardo de Gregorio-Godeo and Angel Mateos-Aparicio Martin-Albo

This book deals with the subject of identity and identification within contemporary cultural studies and includes a selection of papers from the 14th International ‘Culture & Power’ Conference held in Ciudad Real, Spain, in 2010. The volume contributes to contemporary debates on identity-construction practices from various theoretical positions in different social, historic and national contexts. The initial section presents various theoretical discussions on how identity construction and identification phenomena are framed within current disciplinary debates about cultural studies and its future as an academic inter- and transdisciplinary field of enquiry. In the following sections, identity and identification processes are analysed from a variety of perspectives.
In particular, the articles delve into the construction of marginalised identities and the exploration of identification processes that subvert dominant, established or accepted cultural identities. The authors explore the role of print media and videogames in constructing and representing identities; they examine the construction of masculinities and femininities in film, music and gay liberation movements; they analyse the interplay between globalisation and nationalism and its impact on cultural products in Asia or Africa; and provide examples of cultural history approaches to the articulation of several national identities. Considered together, the chapters engage with the most relevant concerns pervading identity theory and cultural studies today.


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Part IV. Film, Music and the Glocalization of Identities 205


Part IV. Film, Music, and the Glocalization of Identities MAHDIS AZARMANDI Transnational German-Turkish Cinema from a Cosmopolitan Perspective: Towards the Representation of Cosmopolitan Hybrid Identities Introduction Cinema, like any other media or artistic expression, participates in the articulation of cultural and national identities and contributes to the formation of cultural borders—either real or imaginary boundaries of how we define “us” and “them.” In the increasingly globalized world, migration, diaspora and exile have created interstitial spaces that offer a different account of identity, nation and belonging. This article looks at how Fatih Akin’s transnational diasporic cinema challenges identity representation as being based on self-other perceptions and instead moves towards the representation of hybrid cosmopolitan identities. In both current political discourse and the measures most Euro- pean countries are taking towards stricter policies on immigration, the immigrant has become the prime cultural “other” both at the political and the cultural level. Media representation of debates about the headscarf, terrorism, and integration as a whole reflect a common sentiment towards the immigrant as a disruptive intruder in society. However the representation of (im)migrants as mere “other” avoids taking into account the historical developments and the socio- economic circumstances that surround immigration. Furthermore, these representations tend to erase from view almost completely foreign-born individuals who are now citizens of the aforementioned European countries. They also fail to consider how second and third generation residents cannot simply be reduced to their ancestral origin. 208 M. Azarmandi When does the immigrant stop being the...

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