Akademik Veri Yönetim Sistemi
ILEF DERGISI, cilt.6, sa.2, ss.227-250, 2019 (ESCI)
In this study, representation and the spatial experiences of refugees in Daha (More, Onur Saylak, 2017) and Misafir (The Guest, Andac Haznedaroglu, 2017) are evaluated on the basis of Marc Auge's concept of non-place and Giorgo Agamben's concepts of bare life and camp, using constructionist representation theory. Shot in Turkey, both films are about refugees and handle the immigration issue through othered identities. The spatial experiences of refugees are determined by immobility and temporariness rather than by fluidity and the refugees, who live in an underground warehouse or non-places called ghettos of the city, are reduced to 'bare life'; in the words of Agamben. In general, the selection of Innocent children" and 'vulnerable woman" figures in the representation of refugees results in the settlement of refugees in helpless or victim status. In this context, the two films, which are common in terms of showing an exclusionary view towards refugees and not presenting refugees as effective subjects are distinguised by their different ideological orientations. While Misafir (The Guest) constructs an emphatic narrative that treats refugees as guest that must be accepted by nation state citizens, Daha (More) criticizes the discourse of the guest, and problematizes the power relations that make refugees exploitable and promote human trafficking within the framework of micro-power relations.