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ID:
141326
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| Summary/Abstract |
Essentially a cinema of occupation and dispossession, Palestinian cinema disrupts standard notions of national cinema, complicating conventional expectations of national aesthetics or national dreams. As the borders of Palestine’s historical territory are continuously under erasure, so too are the symbolic boundaries of its language, which is flexible and inventive; the language of Palestinian cinema is a limit-language. No one has expressed this “limit condition” more succinctly than Elia Suleiman, whose cinematic language exemplifies a poetics of dispossession that depicts the asphyxiating spaces and truncated temporalities of Palestinian life with tragic humor and bold fantasy in defiance of narrative simplicity. Suleiman’s films run counter to the conventional representation of Palestinian existence and are arguably the sharpest expressions of what can be deemed to be the dream-work of that existence against its conventional representation.
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| 2 |
ID:
133296
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| Publication |
2014.
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| Summary/Abstract |
Within the last few years, "Kurdish cinema" has emerged as a unique discursive subject in Turkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora, Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema as an orienting framework for the production and reception of films by and about Kurds. In this article, my argument is threefold. First, Kurdish cinema has emerged as a national cinema in transnational space. Second, like all media texts, Kurdish films are nationalized in discourse. Third, the communicative strategies used to nationalize Kurdish cinema must be viewed both in the context of the historical forces of Turkish nationalism and against a backdrop of contemporary politics in Turkey, specifically the Turkish government's discourses and policies related to the Kurds. The empirical data for this article derive from ethnographic research in Turkey and Europe conducted between 2009 and 2012.
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| 3 |
ID:
178602
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| Summary/Abstract |
This essay explores representations of the Kurdish question in the new popular films of Turkey including Eşkıya/The Bandit, Vizontele, Deli Yürek: Bumerang Cehennemi/Wildheart: Hell of Boomerang, Kurtlar Vadisi: Iraq/Valley of the Wolves: Iraq, Güneşi Gördüm/I Saw the Sun, Nefes/The Breath and Mucize/The Miracle. I use the notion of ideological fantasy to explain how filmic reality is constructed within these films. I argue that popular films of new Turkish cinema addressing the Kurdish question are national fantasies reconstituting the social, historical and political realities of the problem in accordance with the changing state discourse.
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