Book contents
- The Cambridge History of the Kurds
- The Cambridge History of the Kurds
- Copyright page
- Contents
- Figures
- Maps
- Tables
- Contributors
- Acknowledgements
- Abbreviations
- Additional material
- Introduction
- Part I Historical Legacies
- Part II Regional Political Developments and the Kurds in the Twentieth and Twenty-First Centuries
- Part III Domestic Political Developments and the Kurds in the Twentieth and Twenty-First Centuries
- Part IV Religion and Society
- Part V Kurdish Language
- Part VI Art, Culture and Literature
- 27 From the Wandering Poets to the Stateless Novelists
- 28 A History of Kurdish Poetry
- 29 A History of Kurdish Theatre
- 30 A Cinematography of Kurdishness
- 31 Kurdish Art and Cultural Production
- Part VII Transversal Dynamics
- Index
- References
30 - A Cinematography of Kurdishness
Identity, Industry and Resistance
from Part VI - Art, Culture and Literature
Published online by Cambridge University Press: 13 April 2021
By
Book contents
- The Cambridge History of the Kurds
- The Cambridge History of the Kurds
- Copyright page
- Contents
- Figures
- Maps
- Tables
- Contributors
- Acknowledgements
- Abbreviations
- Additional material
- Introduction
- Part I Historical Legacies
- Part II Regional Political Developments and the Kurds in the Twentieth and Twenty-First Centuries
- Part III Domestic Political Developments and the Kurds in the Twentieth and Twenty-First Centuries
- Part IV Religion and Society
- Part V Kurdish Language
- Part VI Art, Culture and Literature
- 27 From the Wandering Poets to the Stateless Novelists
- 28 A History of Kurdish Poetry
- 29 A History of Kurdish Theatre
- 30 A Cinematography of Kurdishness
- 31 Kurdish Art and Cultural Production
- Part VII Transversal Dynamics
- Index
- References
Summary
This chapter problematizes the film modes of Kurdish presence to address the need for a radicalization of artistic tools in the name of artistic autonomy. The industrial mode of cinema’s desire for national totalities is valid in the Kurdish case through a pedagogy of the real to place traumatized Kurdishness in a victimhood discourse in the name of the recognition of Kurdish languages, and to claim its own popular narrations within limits defined by hegemonic powers - i.e. the officially recognized space for Kurdish languages in movie theatres. The limits of this very popular audience are also flagged by international film festivals’ taste and room for them. Within such a historical and political context, which sets Kurdish cinematography as a discursive tool within capitalist film modes, a claim for truth-telling emerges as the domestication of non-linear and non-smooth conflict zones in favour of a consumable form of Kurdish culture.
- Type
- Chapter
- Information
- The Cambridge History of the Kurds , pp. 752 - 774Publisher: Cambridge University PressPrint publication year: 2021
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