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.
Table of Contents
1 Introduction
2 The Interplay of East and West
3 The Hamam as the Third Space
3.1 Divesting in the Hamam
3.2 Hamam as a Queer Space
4 Female Empowerment
5 Conclusion
6 Filmography
7 Bibliography
Research Objectives and Themes
This academic paper examines how the concept of Homi Bhabha’s "third space" is manifested within the films Hamam and Harem by director Ferzan Özpetek, specifically analyzing how the hamam functions as a transformative site for cultural and personal renegotiation.
- The theoretical application of Bhabha's third space in cinematic contexts.
- The deconstruction of binary oppositions between East and West, and tradition and modernity.
- The hamam as a site for "divesting" identities and exploring queer desires.
- The narrative role of the hamam in facilitating female empowerment and counter-patriarchal structures.
- The exploration of identity transformation within a transcultural framework.
Excerpt from the Book
3.1 Divesting in the Hamam
Regarding the collision of different cultures, as shown in Hamam and Harem when East meets West, Bhabha points out a need to break the bipolarity of the Self and the Other and to pull it into an own dynamic, which is only possible through the concept of the third space, where the spheres of everyday situations prove to become translated into one another (Bhabha 1994: 76). Bhabha’s concept negates the essentialism and the uniform identity of the antecedent cultural ‘original’ and emphasises translation processes in the sense of fruitful estrangement and overlapping meanings. Thereby, a constructive third sphere is highlighted, where unspoken and untranslatable elements of cultural contact can be articulated. The concept of third space aims at the negotiation and elaboration of intercultural strategies, especially at a non-essentialist negotiation of cultural fixing and differences (Bhabha 1994: 55).
In this sense, the hamam in both films can be regarded as a third space, where the characters can recreate themselves and hybridise with the Other through the spirituality that the Turkish bath offers. In the hamam people can literally strip down their vested identities and become divested, since the bath offers not only relieve for the flesh, but also frees the spirit (Girelli 2007: 29). Respectively, the hamam symbolises the space where conventions can be dropped, where time does not matter and where people can reveal their true selves without running the risk of being judged for who they are.
Summary of Chapters
1 Introduction: This chapter introduces the theoretical framework of Homi Bhabha’s "third space" and establishes the study's focus on the representation of cultural and personal identity in Özpetek’s films.
2 The Interplay of East and West: This chapter analyzes how Özpetek juxtaposes traditional Istanbul and modern Italy to facilitate the spiritual and identity-based journeys of the main characters.
3 The Hamam as the Third Space: This chapter examines the central role of the Turkish bath as a physical and metaphorical site that enables the renegotiation of social, cultural, and sexual identities.
3.1 Divesting in the Hamam: This section explores how the act of "divesting" in the hamam allows characters to shed social masks and hybridize their identities.
3.2 Hamam as a Queer Space: This section discusses the hamam as a site of queer liberation, where normative conventions of heterosexuality are unsettled and diverse desires can be explored.
4 Female Empowerment: This chapter examines the transmission of female power and autonomy through the symbolic role of the hamam and its custodians.
5 Conclusion: The conclusion synthesizes how the hamam functions as a medium of transition, reconciling binary structures and fostering complex, hybrid identities.
6 Filmography: This chapter lists technical details and production information for the primary films analyzed.
7 Bibliography: This chapter provides the list of academic references and sources used for the analysis.
Keywords
Third space, Homi Bhabha, Ferzan Özpetek, Hamam, Harem, Orientalism, Cultural identity, Hybridity, Queer space, Transcultural, Female empowerment, East-West dichotomy, Diaspora, Cinema, Transformation.
Frequently Asked Questions
What is the primary subject of this academic paper?
The paper explores the application of Homi Bhabha’s "third space" concept within Ferzan Özpetek’s films Hamam and Harem, focusing on how these cinematic settings facilitate identity negotiation.
What are the core themes explored in this study?
Key themes include the intersection of cultural identity, the deconstruction of East-West binaries, the significance of space in personal transformation, and the role of queer and female agency.
What is the research goal of this work?
The study aims to demonstrate how the hamam serves as a "third space" that allows characters to move beyond fixed cultural and social roles toward a hybrid identity.
Which scientific methodology is applied here?
The paper employs a film-studies approach, utilizing cultural theory and post-colonial concepts, specifically Bhabha’s third space, to analyze narrative content and symbolic meanings in film.
What topics are covered in the main body?
The main body covers the interplay of East and West, the physical and psychological divestment within the hamam, the construction of the hamam as a queer space, and the passing of female power.
Which keywords characterize this analysis?
Important keywords include Third space, Hybridity, Orientalism, Queer space, and Transcultural identity.
How does the author define the "third space" in the context of Özpetek’s films?
The author defines it as a territory beyond the bipolarity of 'us' vs. 'them,' where identities can be renegotiated and hybridised through the specific atmosphere of the Turkish bath.
What role does the "gaze" play in the hamam scenes discussed in the text?
The author argues that the "gaze" within the third space acts as a mechanism for role change and mutual recognition, often destabilizing traditional power structures and fostering transformation.
- Citar trabajo
- Robert Stolt (Autor), 2010, Homi Bhaba’s Third Space in Özpetek’s Cinema, Múnich, GRIN Verlag, https://www.grin.com/document/151746
