Invoking a term from Tiziana Terranova, participatory confinement in refugee humanitarianism can also be considered a form of “soft control.” Asylum seekers are increasingly asked to answer questionnaires and provide detailed information to humanitarian actors about their coping strategies, migratory journeys, the logistics of border crossing, and their protection needs. These activities are presented to refugees as an opportunity to improve their individual situation and, at the same time, the asylum system at large; in actuality, they just increase the control that the system has over refugees.

Joana Hadjithomas films from her plane landing in İzmir to show a clear aerial image of its urban spaces and its seashore, a reflection of the imaginary cartography of the place shown to her as a child. The camera often returns to the sea and waves that connect Etel’s living room to Joana’s first visit to the city. The gaze panning the horizon and the seashore reflects the catastrophe that prompted their estrangement from the place. ISMYRNA often depicts the landscape of İzmir as well as several old and current maps. As film subjects, the mountains, the sea, the seashore, and even the urbanization of İzmir seem like such innocent bystanders.