E. Akçalı
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{"title":"土耳其当代库尔德电影创作的随笔倾向","authors":"E. Akçalı","doi":"10.5406/JFILMVIDEO.71.1.0020","DOIUrl":null,"url":null,"abstract":"©2019 by the board of trustees of the university of illinois recent years have seen a rise in the num ber of films produced in Turkey that cannot be classified as either fiction or documentary, but remain in between. Some filmmakers include nonfiction sequences within a fictional narra tive; others choose to rewrite and reenact true stories; and some edit documentary images to make them feel fictive. Almost all of these films deal with social and political matters, and most are wellknown examples of an emerging Kurd ish cinema in Turkey,1 especially tackling issues regarding the freedom and rights of Kurds.2 Another characteristic they share is the film makers’ personal connections to and involve ments in these matters, which turn the films’ narratives into fresh interpretations of current and historical events. The following films can be included in this category: Dûr [Distant] (Kazım Öz, 2005); Demsala Dawî: Şewaxan [The Last Season: Shawaks] (Kazım Öz, 2008); Gitmek: Benim Marlon ve Brandom [My Marlon and Brando] (Hüseyin Karabey, 2008); İki Dil Bir Bavul [On the Way to School] (Orhan Eskiköy and Özgür Doğan, 2008); Press (Sedat Yılmaz, 2010); Babamın Sesi [Voice of My Father] (Orhan Eskiköy and Zeynel Doğan, 2012); Ez Firiyam Tu Mayî Li Cî [I Flew, You Stayed] (Mizgin Müjde Arslan, 2012); Bûka Baranê [The Children Chasing the Rainbow] (Dilek Gökçin, 2013); and He bû tune bû [Once upon a Time] (Kazım Öz, 2014). Some of these films are fiction, whereas others are firstperson observational documen taries, or “creative” documentaries as their makers call them. I evaluate these films within “the domain of the essayistic,” as phrased by Rascaroli (The Personal Camera 189) because of their inbetween nature along with the pres ence of the filmmakers’ personal viewpoints and their autobiographical links to the stories, which will be discussed further later. This shared essayism prompts a series of questions with regard to filmic representa tion in Turkey: Are political subject matters perceived as less real (and more tolerable) when fictionalized? What are the practical and stylistic possibilities that essayism offers for recounting the past? How does unbelonging to a conventional category, such as fiction or documentary, affect a film’s reception and criticism? Why, in general, is there a tendency to tell facts through fiction among filmmakers (specifically of political cinema) in Turkey? In deed, the answers to these questions are not easily assessable, at least not within the limits of this article. However, they are useful in di recting us to uncover the details of the differ ent modes of essayistic representation avail able in these films and to identify some of the ways in which filmic form allows, emphasizes, and reflects upon the overlap of conventional categories. This article addresses those Kurd ish films that narrativize the KurdishTurkish conflict in Turkey through the use of some shared essayistic choices in their visual narra tion, which promotes a dialogue between fact Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"71 1","pages":"20 - 34"},"PeriodicalIF":0.1000,"publicationDate":"2019-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey\",\"authors\":\"E. Akçalı\",\"doi\":\"10.5406/JFILMVIDEO.71.1.0020\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"©2019 by the board of trustees of the university of illinois recent years have seen a rise in the num ber of films produced in Turkey that cannot be classified as either fiction or documentary, but remain in between. Some filmmakers include nonfiction sequences within a fictional narra tive; others choose to rewrite and reenact true stories; and some edit documentary images to make them feel fictive. Almost all of these films deal with social and political matters, and most are wellknown examples of an emerging Kurd ish cinema in Turkey,1 especially tackling issues regarding the freedom and rights of Kurds.2 Another characteristic they share is the film makers’ personal connections to and involve ments in these matters, which turn the films’ narratives into fresh interpretations of current and historical events. The following films can be included in this category: Dûr [Distant] (Kazım Öz, 2005); Demsala Dawî: Şewaxan [The Last Season: Shawaks] (Kazım Öz, 2008); Gitmek: Benim Marlon ve Brandom [My Marlon and Brando] (Hüseyin Karabey, 2008); İki Dil Bir Bavul [On the Way to School] (Orhan Eskiköy and Özgür Doğan, 2008); Press (Sedat Yılmaz, 2010); Babamın Sesi [Voice of My Father] (Orhan Eskiköy and Zeynel Doğan, 2012); Ez Firiyam Tu Mayî Li Cî [I Flew, You Stayed] (Mizgin Müjde Arslan, 2012); Bûka Baranê [The Children Chasing the Rainbow] (Dilek Gökçin, 2013); and He bû tune bû [Once upon a Time] (Kazım Öz, 2014). Some of these films are fiction, whereas others are firstperson observational documen taries, or “creative” documentaries as their makers call them. I evaluate these films within “the domain of the essayistic,” as phrased by Rascaroli (The Personal Camera 189) because of their inbetween nature along with the pres ence of the filmmakers’ personal viewpoints and their autobiographical links to the stories, which will be discussed further later. This shared essayism prompts a series of questions with regard to filmic representa tion in Turkey: Are political subject matters perceived as less real (and more tolerable) when fictionalized? What are the practical and stylistic possibilities that essayism offers for recounting the past? How does unbelonging to a conventional category, such as fiction or documentary, affect a film’s reception and criticism? Why, in general, is there a tendency to tell facts through fiction among filmmakers (specifically of political cinema) in Turkey? In deed, the answers to these questions are not easily assessable, at least not within the limits of this article. However, they are useful in di recting us to uncover the details of the differ ent modes of essayistic representation avail able in these films and to identify some of the ways in which filmic form allows, emphasizes, and reflects upon the overlap of conventional categories. This article addresses those Kurd ish films that narrativize the KurdishTurkish conflict in Turkey through the use of some shared essayistic choices in their visual narra tion, which promotes a dialogue between fact Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey\",\"PeriodicalId\":43116,\"journal\":{\"name\":\"JOURNAL OF FILM AND VIDEO\",\"volume\":\"71 1\",\"pages\":\"20 - 34\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2019-03-14\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF FILM AND VIDEO\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/JFILMVIDEO.71.1.0020\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF FILM AND VIDEO","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/JFILMVIDEO.71.1.0020","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
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Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey
©2019 by the board of trustees of the university of illinois recent years have seen a rise in the num ber of films produced in Turkey that cannot be classified as either fiction or documentary, but remain in between. Some filmmakers include nonfiction sequences within a fictional narra tive; others choose to rewrite and reenact true stories; and some edit documentary images to make them feel fictive. Almost all of these films deal with social and political matters, and most are wellknown examples of an emerging Kurd ish cinema in Turkey,1 especially tackling issues regarding the freedom and rights of Kurds.2 Another characteristic they share is the film makers’ personal connections to and involve ments in these matters, which turn the films’ narratives into fresh interpretations of current and historical events. The following films can be included in this category: Dûr [Distant] (Kazım Öz, 2005); Demsala Dawî: Şewaxan [The Last Season: Shawaks] (Kazım Öz, 2008); Gitmek: Benim Marlon ve Brandom [My Marlon and Brando] (Hüseyin Karabey, 2008); İki Dil Bir Bavul [On the Way to School] (Orhan Eskiköy and Özgür Doğan, 2008); Press (Sedat Yılmaz, 2010); Babamın Sesi [Voice of My Father] (Orhan Eskiköy and Zeynel Doğan, 2012); Ez Firiyam Tu Mayî Li Cî [I Flew, You Stayed] (Mizgin Müjde Arslan, 2012); Bûka Baranê [The Children Chasing the Rainbow] (Dilek Gökçin, 2013); and He bû tune bû [Once upon a Time] (Kazım Öz, 2014). Some of these films are fiction, whereas others are firstperson observational documen taries, or “creative” documentaries as their makers call them. I evaluate these films within “the domain of the essayistic,” as phrased by Rascaroli (The Personal Camera 189) because of their inbetween nature along with the pres ence of the filmmakers’ personal viewpoints and their autobiographical links to the stories, which will be discussed further later. This shared essayism prompts a series of questions with regard to filmic representa tion in Turkey: Are political subject matters perceived as less real (and more tolerable) when fictionalized? What are the practical and stylistic possibilities that essayism offers for recounting the past? How does unbelonging to a conventional category, such as fiction or documentary, affect a film’s reception and criticism? Why, in general, is there a tendency to tell facts through fiction among filmmakers (specifically of political cinema) in Turkey? In deed, the answers to these questions are not easily assessable, at least not within the limits of this article. However, they are useful in di recting us to uncover the details of the differ ent modes of essayistic representation avail able in these films and to identify some of the ways in which filmic form allows, emphasizes, and reflects upon the overlap of conventional categories. This article addresses those Kurd ish films that narrativize the KurdishTurkish conflict in Turkey through the use of some shared essayistic choices in their visual narra tion, which promotes a dialogue between fact Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey