In his attempt to break down binary thought structures that characterise interactions between different cultures, in his 1994 work Location of culture, Homi Bhabha defines the term of third space as a place where identities can be renegotiated. The third space can be located beyond the bipolarity of ‘us’ and ‘them’ and thus is a territory where we can escape the dilemma of dichotomies and hierarchies. Özpetek, in Hamam, il bagno
turco [Ferzan Özpetek, 1992] as well as in Harem suaré [Ferzan Özpetek, 2001], seizes on the idea of Bhaba’s third space to describe the encounter with the cultural other and the erotic attraction to the other. In Hamam as well as in Harem Özpetek is accused of applying an Orientalist approach by showing an utopian imagination of the Oriental Other. According to Said, the notion of the Orient is a discursive construct of the West, while the underlying construction is strictly dichotomic - ‘us’ vs. ‘them’ (Said 1978:44). Indeed, imaginary projections of the Orient are often claimed to be mere imaginations and explanations of the Other and the foreign (Breger & Döring 1998: 30). However, in Özpetek’s films the constructs of Turkey should not be seen as merely following the Orientalist canon, but should rather be ’understood as a measure of Özpetek’s nostalgia, as a transcultural person who now lives in Italy’ (Anderlini 2004: 165). In his cinematic processing of concrete life experiences of diaspora, Özpetek
relies on the concept of the third space, by applying it as a guide for a global re-mapping and leaving behind the binary division of West vs. East and traditional vs. modern.
What is discussed in this essay is the hamam as the third space in Özpetek’s Hamam and Harem, where people can negotiate their fixed cultural identities and hybridise with the Other. Thus, the third space is applied as an intercultural medium, a space for reflection and mediation (Breger & Döring 1998: 27). Before focusing on the hamam as the third space, the interaction between East and West, which makes up a crucial part of both films, shall be looked at in chapter two. Furthermore, the hamam will be analysed in chapter three as not only a divested, but also queer space. On top of that, in part four, the emphasis will be placed on the female empowerment that is triggered through the characters’ experience in the hamam. Lastly, a retrospective analysis of the paper will conclude the essay.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- The Interplay of East and West
- The Hamam as the Third Space
- Divesting in the Hamam
- Hamam as a Queer Space
- Female Empowerment
- Conclusion
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay examines Homi Bhabha's concept of the third space in the films of Ferzan Özpetek, particularly in Hamam, il bagno turco (1992) and Harem suaré (2001). It explores how Özpetek utilizes the third space as a means of negotiating cultural identities and challenging binary oppositions between East and West, traditional and modern.
- The role of the hamam as a third space in Özpetek's films
- The interplay of East and West in the films' portrayal of Turkey
- The hamam as a space for divesting from fixed identities and embracing hybridity
- The hamam as a queer space and its significance in the films
- Female empowerment and the transformative potential of the hamam
Zusammenfassung der Kapitel (Chapter Summaries)
The first chapter provides an introduction to Bhabha's third space theory and its application in Özpetek's films. It discusses the portrayal of the Orient in Özpetek's work, contrasting his approach with Said's Orientalist perspective.
Chapter two explores the interplay of East and West in Özpetek's films, focusing on the juxtaposition of traditional Istanbul with modern Italy. It examines how this dichotomy contributes to the characters' journeys of self-discovery and the exploration of alternative identities.
Chapter three delves into the significance of the hamam as a third space in Özpetek's films. It analyzes the hamam as a space where individuals can divest from fixed cultural identities and embrace hybridity. The chapter also explores the hamam's potential as a queer space, challenging traditional notions of sexuality and identity.
Chapter four examines the theme of female empowerment in Özpetek's films, highlighting how the hamam serves as a catalyst for the characters' personal transformation and liberation.
Schlüsselwörter (Keywords)
The main keywords and focus topics of this essay include: Homi Bhabha, third space, Ferzan Özpetek, Hamam, il bagno turco, Harem suaré, Orientalism, Turkey, Istanbul, East vs. West, traditional vs. modern, cultural identity, hybridity, queer space, female empowerment, divestment, nostalgia.
- Quote paper
- Robert Stolt (Author), 2010, Homi Bhaba’s Third Space in Özpetek’s Cinema, Munich, GRIN Verlag, https://www.grin.com/document/151746
