Academic literature on the topic '\Kurdish films'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '\Kurdish films.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "\Kurdish films"
1
Koçer, Suncem. "KURDISH CINEMA AS A TRANSNATIONAL DISCOURSE GENRE: CINEMATIC VISIBILITY, CULTURAL RESILIENCE, AND POLITICAL AGENCY." International Journal of Middle East Studies 46, no. 3 (July 18, 2014): 473–88. http://dx.doi.org/10.1017/s0020743814000555.
Full textAbstract:
AbstractWithin 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.
2
Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (August 18, 2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.
Full textAbstract:
this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuated discrimination, and exclusion. This essay draws on Hannah Arendt’s The Origins of Totalitarianism, and Philip Rosen’s essay in Theorizing National Cinema to explore how Yalmiz Guney and Bahmani Ghobadi presented the national identity of the characters to mark the films with a sense of Kurdishness. This essay further explores the construction of national identity and personhood specifically in Guney’s Yol and Ghobadi’s Turtles Can Fly to show how stateless people can easily become a subject of dehumanization by different nation states.
3
Szanto, Edith. "Mourning Halabja on Screen: Or Reading Kurdish Politics through Anfal Films." Review of Middle East Studies 52, no. 1 (April 2018): 135–46. http://dx.doi.org/10.1017/rms.2018.3.
Full textAbstract:
AbstractTowards the end of the decade long Iran–Iraq war, Saddam Hussein launched a deadly attack against the Kurds, known as the Anfal Campaign, killing more than a hundred thousand. One of the largest acts of genocide occurred on 18 March 1988 in the Kurdish city of Halabja. On that day, sweet-smelling poison gas was poured over the city, killing at least five thousand. Since 2001 Kurdish moviemakers have memorialized the tragedy of the Halabja massacre by producing cinematic dramas and narrative documentaries. These films are part of a discourse of authenticity and a politics of culture that permeate the Kurdish independence movement. This essay proposes that Halabja films can be divided into three stages: the era of consolidation, 2000 to 2009; the golden era, 2009 to early 2014; and the fall which followed the fall of Mosul to the Islamic State of Iraq and Syria. Each era reveals new attitudes towards politics, society, and the massacre.
4
Koçer, Zeynep, and Mustafa Orhan Göztepe. "Representing ethnicity in cinema during Turkey's Kurdish Initiative." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 54–68. http://dx.doi.org/10.33178/alpha.13.03.
Full textAbstract:
In 2009, the Turkish government started the “Kurdish Initiative”, a comprehensive policymaking process, in an attempt to improve the democratic standards and civil rights of the Kurdish population. Even though the initiative ended in 2015, it made it possible for a significant number of independent films to emerge which deal with the Kurdish issue. Historically, mainstream cinema’s symbolic representation of Kurdish identity served to neutralise its Kurdish characters by portraying them as Turkish speaking and one-dimensional. Breaking this tradition, these independent films offer multi-layered, Kurdish speaking characters with progressive narratives. This article investigates three films produced on the eve of and during the “Kurdish Initiative”: My Marlon and Brando (Gitmek: Benim Marlon ve Brandom, Hüseyin Karabey, 2008), The Storm (Bahoz, Kazım Öz, 2008) and Future Lasts Forever (Gelecek Uzun Sürer, Özcan Alper, 2011). In addition to interrupting the traditional acceptance of stereotypes by the mainstream cinema, each film discusses the symbolic representations of Kurdish identity through different aspects: transnationality, the role of discriminative processes, and memory and trauma.
5
Çiçek, Özgür. "The fictive archive." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 58–75. http://dx.doi.org/10.33178/alpha.1.05.
Full textAbstract:
In this paper, I consider the potentials and theoretical interpretations of Kurdish Cinema produced in Turkey. I evaluate the dynamics of the emergence of a state-less Kurdish cinema, which produces films in spite of the existence of Turkish National cinema and an oppressive Turkish national identity. Using Hayden White’s formulations on narrative and history and Gilles Deleuze’s theories on minority filmmaking and the time-image, I argue that the conception of time in Kurdish Cinema exceeds the time of the narrative and carries an archival potential for the unrepresented history of Kurdish life in Turkey.
6
Pobedonostseva-Kaya, Angelika. "“The Soviet Government Approves of Our Religion”: Yezidism in Soviet Cinema." Oriental Courier, no. 3 (2022): 159. http://dx.doi.org/10.18254/s268684310023761-5.
Full textAbstract:
Yezidi studies in Russia and the USSR were connected, first of all, with the general development of Kurdish studies. Due to long-term social isolation and religious persecution, the Yezidis were a closed society, which, due to its low social “proletarian” status, was considered by the Bolsheviks as a society capable of assimilating a new revolutionary ideology. One of the most important elements of nation-building was the formation of a national identity among the ethnic groups of the eastern and southern regions of the USSR through the promotion of the ancient heritage of these peoples, as well as the interpretation of their religious traditions as part of their national identity. Unlike the European part of the country, here it was about pre-modern societies and was complicated by tribal and religious aspects. National minorities in the USSR were often assigned to one or another republic, within the framework of which they received the institutions of modern culture and elements of their own administration. In Armenia, home to the largest Yezidi community in the region, Kurdish identity has long been linked to Islam, which could potentially also mean opposition to modern Armenian identity, which emphasizes Christianity. The Armenian side made references to the common past during the First World War and looked for additional ethnic groups as potential allies. Armenia's monopoly on the Kurds and Yezidis is reflected in the cinema. There were few films dedicated to the Kurds during the entire existence of the SSR of Armenia. The main emphasis in the report is made on the films of the interwar period: “Zare” (1926) and “Yezidi Kurds” (1932). These paintings are interesting not only as one of the earliest depictions of Kurdish society, but also as an attempt to represent and interpret Yezidi rites and customs on film.
7
Abdullah, Berivan M. A., Ivan H. Murad, and Herjin F. Abdullah. "Kurdish Students’ Attitudes Towards the Use Of Films In Teaching Literary Works In EFL Classroom." JEELS (Journal of English Education and Linguistics Studies) 7, no. 1 (May 26, 2022): 91–113. http://dx.doi.org/10.30762/jeels.v7i1.207.
Full textAbstract:
The current study investigates Kurdish students’ attitudes towards the use of films in teaching literary works at universities in the Kurdistan Region of Iraq. The study also highlights whether using films in teaching literary works is beneficial or not and what challenges are faced by them. The data were collected by using questionnaires and interviews from 60 students aged between 18-24 years old from both private and public universities. Out of 60 students, 15 were randomly chosen to be interviewed. Results show that some students consider teaching literary works using films is beneficial, as it encourages students to study and read more literary works and it also makes them actively interact with the content which helps them remember the events more effectively. However, the study also reveals that some Kurdish students consider teaching literary works using films is a waste of time, and this discourages interaction between students and their teacher. In addition, ‘boredom’ and ‘language difficulty’ are the other two major challenges faced by Kurdish students.
8
Abdullah, Berivan Mohammed Ahmed, Ivan H. Murad, and Herjin F. Abdullah. "KURDISH STUDENTS’ ATTITUDES TOWARDS THE USE OF FILMS IN TEACHING LITERARY WORKS IN EFL CLASSROOM." JEELS (Journal of English Education and Linguistics Studies) 7, no. 1 (April 19, 2020): 91–113. http://dx.doi.org/10.30762/jeels.v7i1.1431.
Full textAbstract:
The current study investigates Kurdish students’ attitudes towards the use of films in teaching literary works at universities in the Kurdistan Region of Iraq. The study also highlights whether using films in teaching literary works is beneficial or not and what challenges are faced by them. The data were collected by using questionnaires and interviews from 60 students aged between 18-24 years old from both private and public universities. Out of 60 students, 15 were randomly chosen to be interviewed. Results show that some students consider teaching literary works using films is beneficial, as it encourages students to study and read more literary works and it also makes them actively interact with the content which helps them remember the events more effectively. However, the study also reveals that some Kurdish students consider teaching literary works using films is a waste of time, and this discourages interaction between students and their teacher. In addition, ‘boredom’ and ‘language difficulty’ are the other two major challenges faced by Kurdish students.
9
Furu, Adél. "Representations of suppressed indigenous cultural memories: the communities of Sami of Finland and Kurdish of Turkey." Romanian Journal for Baltic and Nordic Studies 7, no. 2 (December 15, 2015): 167–75. http://dx.doi.org/10.53604/rjbns.v7i2_12.
Full textAbstract:
In my paper I intend to examine how the historical marginalization of Sami and Kurdish history and culture affects the cultural identity of these ethnic groups. I discuss how recent political discourses and state interventions have influenced the images of the past and identity politics in the Sami communities living in Finland and in the Kurdish society living in Turkey. Furthermore, I describe how these assimilated minorities have alienated from their own identity due to a damage of their collective memory caused by devastating historical events. The paper also focuses on the ways these two minorities give meaning to the past and strengthen their cultural identities through different forms of art. Both Samis and Kurds express their identities in several creative ways. Their historical realities, individual histories, memories of assimilation and common values are reflected in joiks, folk music and cinema. These are strong ways of remembering and expressions of identity in both cultures. Traditional songs, films, documentaries reveal histories, reproduce cultures and shape the memories of both Sami and Kurdish people. Therefore, I will discuss how the patterns of their cultural memory have an impact on the representation of their identities in the above art forms.
10
Çiçek, Özgür. "Taking precarity as a force and surveying on the past through film: Can films recuperate the untold histories?" Empedocles: European Journal for the Philosophy of Communication 13, no. 1 (June 1, 2022): 59–68. http://dx.doi.org/10.1386/ejpc_00041_1.
Full textAbstract:
The meeting of film and history sits at a position where it becomes hard to distinguish their interdependent dynamics. Accordingly, how do film and history connect, work with or work against each other? What is the significance of film for constructing histories of the people whose past, identity and culture were denied for long years? Where does this bring or drive film towards becoming a medium through which precarious politics on diverse people are revealed, documented and archived? Leaning on these, in this article, I will interrogate the position of transnational Kurdish cinema produced in Turkey for transforming the precarious political realms into a creative force that exposes different Kurdish histories, memories and temporalities. To do this I will make use of the interviews I conducted with Kurdish filmmakers in Turkey between 2010 and 2016, including Hüseyin Karabey, Mizgin Müjde Arslan, and Zeynel Doğan, and their films which reveal the tensions they inherit from their ancestors.
Dissertations / Theses on the topic "\Kurdish films"
1
Sonboli, Hassan. "Digital Docu-fiction: A Way to Produce Kurdish Cinema." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366037.
Full textAbstract:
This exegesis contextualises my feature-length film The Sultan and the Kings, a studio-based project produced for the Doctorate of Visual Arts.
As a Kurdish émigré and filmmaker who left Iran in 1997, lived in Turkey for a couple of years, then emigrated to Australia in 2000, I studied film and also continued the filmmaking practice that I had begun in Iran in 1988.
The exegesis examines the shortage of literature about Kurdish films, the misrepresentation of Kurdish filmmaking, the emergence of Kurdish cinema and the obstacles faced by it, as well as the emergence of Kurdish cinematic styles.
By considering how my film relates to Kurdish cinema overall, what is referred to as the “cinema under oppression” and the “cinema of diaspora”, this exegesis examines the development of a form of storytelling that I term digital docu-fiction, which blends elements of documentary, fiction and digital film manipulation. Through this form of practice, Kurdish filmmakers aim to take control of the whole process of filmmaking, from production to exhibition.
The exegesis discusses this form of storytelling with reference to the development of my own practice and aesthetic, using my short film A Woman with a Digital Camera as an example of digital docu-fiction.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of art
Arts, Education and Law
Full Text
2
Kennedy, Tim. "Cinema Regarding Nations Re-imagining Armenian, Kurdish, and Palestinian national identity in film." Thesis, University of Reading, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486343.
Full textAbstract:
This thesis examines how film contributes to the collection of visual images and narratives that enable a community to imagine itself as a nation. It· focuses on three such communities, the Armenians, the Kurds, and the Palestinians, who have been, or remain, stateless. It argues that, in the face of external threats, stateless nations and their diasporas require repeated re-imagining to ensure their continued existence. A starting point for the study is that cinema is an important site for this reimagining in the way that it continually highlights concerns with national identity. Using a diverse collection of film in each case, the analysis identifies national themes, key symbols, and formal structures employed by film-makers to depict these nations. The films are categorised by means of the concept of 'cinema regarding nations', that is they are specifically about the respective nations. Through this categorisation, the thesis contributes to national cinema studies by facilitating the critical examination of a body of work which otherwise is fragmented. The study is comparative and uses a combination of textual and contextual analysis that enables the films from each case to be related to their political and social circumstances. The cases represent nations with arguably widely different origins, from the 'historic' Armenians to the more 'modem' Palestinians. Thus, the thesis also contributes to the debate in studies of national identity and nationalism between those who argue the nation is a modem political invention and those who argue that cultural roots are essential for the formation and persistence of nations. It reveals the relationship of the historical processes of nation formation and the persistence of national identity over time to their representation in film.
Books on the topic "\Kurdish films"
2
Fîlmografyay Kurdî. Silêmanî [Kurdistan, Iraq]: Ber̄êweberêtîy Çap u Biławkirdinewey Silêmanî, 2008.
Find full text
3
Belelli, Sara. The Laki variety of Harsin : grammar, texts, lexicon. Edited by Geoffrey Haig. University of Bamberg Press, 2021. http://dx.doi.org/10.20378/irb-51703.
Full textAbstract:
This book presents a documentation and analysis of Harsini, the language variety spoken by the people of Harsin, a small urban centre located in south-east Kermanshah Province, western Iran. The main features of phonology and morphosyntax are outlined, and an extensive corpus of transcribed spoken texts, recorded in situ, is also provided, together with a lexicon. The book also includes comparative notes and discussion of the place of Harsini within Laki, and its relationship to Southern Kurdish. The sound files from the text corpus are available online at https://multicast.aspra.uni-bamberg.de/resources/kurdish/#laki.
4
Hintz, Lisel. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190655976.003.0008.
Full textAbstract:
The final chapter encapsulates the usefulness of the inside-out approach developed in the book for future research. It outlines how the book fills a gap in existing scholarship by analytically linking the “inside-out” spillover of national identity debates into foreign policy with the changes in the contours of these debates produced by their contestation in this alternative arena. The chapter also suggests insights into the recent backlashes arising against the AKP’s identity project, with a focus on the 2013 Gezi protests and the Kurdish issue. In doing so, it considers the domestic and foreign policy ramifications of a possible hybrid identity proposal arising out of mutual contestation against Ottoman Islamism, as well as the red lines that might obstruct any such collaboration.
5
Xavier, Koller, and Sieg Christina, eds. Reise der Hoffnung: Flucht, Schleppertum und schweizerische Asylpolitik : ein Dokumentarband zum Thema des Films von Xavier Koller. Zürich: Werd-Verlag, 1990.
Find full textBook chapters on the topic "\Kurdish films"
1
Brileva, Diliara. "Writing A Visual History Of Turkey: ‘Glorious History’ In Mainstream Cinema Versus ‘Complicated History’ In Art House Films." In The Politics of Culture in Contemporary Turkey, edited by Pierre Hecker, Ivo Furman, and Kaya Akyıldız, 239–52. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474490283.003.0013.
Full textAbstract:
Modern Turkish cinema is a space in which different versions of national history coexist. Mainstream cinematography produced during the period of AKP rule is a field for broadcasting Turkey’s ‘glorious history’, both within and beyond the country. In mainstream historical films, neo-Ottomanism is brought to the fore. The heroisation of the Ottoman past is conducted through the depiction of Turkish military glory. At the same time, acute ethno-confessional issues are ignored, and Turkey is represented as a homeland of many peoples. Religious myths are used to support the idea of Turkey as the legal successor to the Ottoman Empire and the Caliphate. Conversely, Turkish art house films focus on complicated moments in the history of the Ottoman Empire and the Republic of Turkey (such as the Greek, Armenian and Kurdish questions). Niche films are a forum for expressing critical attitudes to the ‘traditional’ vision of Turkish history. Overall, this disagreement between Turkey’s creative intelligentsia and the ruling elite over the interpretation of history is part of a wider discourse on cultural hegemony and resistance. This chapter is devoted to exploring the formation of ‘different histories’ of Turkey in modern Turkish cinema.
2
Cockrell-Abdullah, Autumn. "Art and Agency." In Advances in Public Policy and Administration, 320–42. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-3001-5.ch016.
Full textAbstract:
This chapter places the practices of Kurdish visual artists working in Iraqi Kurdistan within the historical context of the Iraqi state and discusses the production of artwork, particularly the creation of the Museum of Modern Art and the Sulemani International Film Festival, as they demonstrate the transitional nature of power and the struggle for cultural dominance within Iraqi Kurdish society. Once the sole or major patron of most artwork produced in Iraqi Kurdistan, the government is no longer funding most projects. The loss of this major patron has significantly changed the relationship between government (patron) and artist (client) creating opportunities for artists to develop alternative sources of support. The work of these artists reveals the struggle of a nation to transform historical relationships of power and to develop a sustainable civil society and a long-term, sustainable peace.
3
Phillis, Philip E., and Philip E. Phillis. "En Route to Fortress Europe: Migration and Exilic Life in Roadblocks." In Greek Cinema and Migration, 1991-2016, 79–102. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437035.003.0003.
Full textAbstract:
Following a discussion on what happens at the Greek-Albanian border, the author examines issues of transnational mobility in the seminal Roadblocks/Kleistoi Dromoi (2000) considering the routes of migration that the film’s Kurdish refugees tread on their way to Greece and Italy. The author here is interested in the notion of mobility impeded by borders that transform a journey of hope into nightmare and how this is actualized through the director’s original blend of documentary, fiction, conventional and experimental filmmaking. In order to further comprehend the contours of the migrant journey in Roadblocks, one needs to examine the push and pull factors of Kurdish migration. We take under consideration then the concept of the migrant imagination and how it fuels the journey and figures in the tragedy of hope turned dystopia. It is finally argued that, despite an original depiction of migration and refugee lives in limbo, Roadblocks screens explosive violence and imminent tragedy maintaining refugee lives in a perpetual state of crisis.
4
Kalan, Amir. "Writing in Times of Crisis." In Rhetoric and Sociolinguistics in Times of Global Crisis, 214–34. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-6732-6.ch012.
Full textAbstract:
This chapter focuses on a memoir and a film that narrate the experiences of Kurdish writer Behrouz Boochani in an Australian refugee camp in Papua New Guinea in order to show how genres organically develop out of human engagement with social and historical circumstances. The author discusses the novel and the film as examples of how writers' interactions with the world impose rhetorical orientations and nurture genre formation. This chapter illustrates that, as opposed to the dominant view of rhetoric as a means of persuasion, the essence of rhetoric and genre formation is engagement with what the author calls “phenomenological autoethnography.” The author argues that studying writing in times of crisis makes the phenomenological and autoethnographic foundations of writing visible because in crises rhetoric is unapologetically used to resist injustice and build resistance through “poetic realism,” which consists of fluid genre practices that can help capture the complexities of human experience.