Kılıçbay, Barış Bora2021-06-232021-06-2320140952-88221475-5297https://doi.org/10.1080/09528822.2014.970770https://hdl.handle.net/20.500.12491/7764This article offers a critical reading of a teleological tendency that informed and still exercises a considerable influence on many analyses of Turkish-German cinema. These analytical tools define Turkish-German migrant cinema as a 'cinema of duty', which creates a stereotypical image of the Turk carrying a 'burden of representation', and seek to replace these narratives with those that ostensibly liberate Turkish Germans from this burden by celebrating instead the 'pleasures of hybridity'. The author's intention in this article is to offer a more developed reading of these previously denigrated stereotypes and to argue that in their afterlives stereotypes of the guest worker represent much more than simple arrested images. All of this is related to a reading of Sulbiye Gunar's 2002 film Karamuk, which has been ironically examined as one of the rare Turkish-German films to move away from the outdated stereotype of the Turkish guest worker. However, this article sets out to argue contrarily that the film stages the pliancy of the stereotype by stripping it from the Turk in order to observe its subtle reappearance in the unsuspecting German, and thus reveals novel performances of stereotypes that complicate categories of ethnicity and identity.eninfo:eu-repo/semantics/closedAccessGuest WorkerCinema of DutyStereotypesKaramukTurkish-German CinemaDeniz GöktürkSülbiye GünarNationBarış KılıçbayDiasporaHybridityArticle10.1080/09528822.2014.970770286507516WOS:000346243300004N/A