Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 30 - A Cinematography of Kurdishness

  • from Part VI - Art, Culture and Literature
  • Edited by Hamit Bozarslan, Ecole des Hautes Etudes en Sciences Sociales, Paris, Cengiz Gunes, The Open University, Milton Keynes, Veli Yadirgi, School of Oriental and African Studies, University of London
  • Book:
    The Cambridge History of the Kurds
    Published online:
    13 April 2021
    Print publication:
    22 April 2021, pp 752-774

  • 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.