• Source: New Turkish Cinema

New Turkish Cinema: Belonging, Identity and Memory is a 2010 I.B. Tauris publication by Istanbul Technical University Associate Professor Asuman Suner which examines the emergence of the new wave Turkish cinema, including both commercial and independent productions, against the backdrop of the drastic transformation undergone by Turkey since the mid-1990s and how these films persistently return to the themes of belonging, identity and memory. The book, which was published on January 30, 2010 (2010-01-30), is an extensively revised and re-written update of an earlier edition published by Metis Press, Istanbul, in 2006.




Content






= Introduction

=
The author briefly outlines the history of Turkish cinema in order to place the emergence of new Turkish cinema in into historical and cultural context.




= Chapter 1: Popular Nostalgia Films

=
New popular Turkish films focusing on the provincial small-town life of the past, which voice a critique of modern Turkish society through an idealized representation of the past as a time of collective childhood, are discussed by the author, who finds this critique problematic, however, as it renders society unaccountable for the events of the past and alleviates it from the burden of responsibility.



Filmography

Propaganda (1999), directed by Sinan Çetin
Offside (Turkish: Dar Alanda Kısa Paslaşmalar, 2000), directed by Serdar Akar
The Waterfall (Turkish: Şellale, 2001), directed by Semir Aslanyürek
Vizontele (2001), directed by Yılmaz Erdoğan and Ömer Faruk Sorak
Vizontele Tuuba (2004), directed by Yılmaz Erdoğan
My Father and My Son (Turkish: Babam ve Oğlum, 2005), directed by Çağan Irmak
The International (Turkish: Beynelmilel, 2006), directed by Muharrem Gülmez and Sırrı Süreyya Önder




= Chapter 2: New Political Films

=
The new wave of Turkish political films, which show the effect on normal people of the country's traumatic recent past (including police brutality, disappearances, repression of religious and ethnic minorities and the Kurdish–Turkish conflict), are discussed by the author, who argues these films interrogate questions of national identity and belonging in common with transnational cinema.



Filmography

Journey to the Sun (Turkish: Güneşe Yolculuk, 1999), directed by Yeşim Ustaoğlu
In Nowhere Land (Turkish: Hiçbiryerde, 2002), directed by Tayfun Pirselimoğlu
Mud (Turkish: Çamur, 2003), directed by Derviş Zaim
Waiting for the Clouds (Turkish: Bulutları Beklerken, 2003), directed by Yeşim Ustaoğlu
Toss-Up (Turkish: Yazı Tura, 2004), directed by Uğur Yücel




= Chapter 3: The Cinema of Nuri Bilge Ceylan

=
The films of the Cannes Grand Jury Prize-winning auteur-filmmaker Nuri Bilge Ceylan, arguably the most internationally acclaimed director of new Turkish cinema, are discussed by the author, who claims that they are mainly about acknowledging the paradoxes of home and belonging.



Filmography

Cocoon (Turkish: Koza, 1995), directed by Nuri Bilge Ceylan
Small Town (Turkish: Kasaba, 1998), directed by Nuri Bilge Ceylan
Clouds of May (Turkish: Mayıs Sıkıntısı, 2000), directed by Nuri Bilge Ceylan
Distant (Turkish: Uzak, 2002), directed by Nuri Bilge Ceylan
Climates (Turkish: İklimler, 2006), directed by Nuri Bilge Ceylan




= Chapter 4: The Cinema of Zeki Demirkubuz

=
The films of prominent auteur-filmmaker Zeki Demirkubuz, which centre on characters who are agitated or detached, draw upon highly-dramatic and violent events, and use compulsive repetition in the narrative, are discussed by the author, who claims they direct attention to the dark underside of domesticity and the home.



Filmography

Block C (Turkish: C Blok, 1994), directed by Zeki Demirkubuz
Innocence (Turkish: Masumiyet, 1997), directed by Zeki Demirkubuz
The Third Page (Turkish: Üçüncü Sayfa, 1999), directed by Zeki Demirkubuz
Fate (Turkish: Yazgı, 2001), directed by Zeki Demirkubuz
Confession (Turkish: İtiraf, 2002), directed by Zeki Demirkubuz
The Waiting Room (Turkish: Bekleme Odası, 2003), directed by Zeki Demirkubuz
Destiny (Turkish: Kader, 2005), directed by Zeki Demirkubuz




= Chapter 5: New Istanbul Films

=
The new transitional genre of Istanbul Films, which offer alternative ways of seeing the city to its former privileged position in Turkish cinema, is discussed by the author, who claims that these films recycle and reuse traditional clichés about the city rather than negating them.



Filmography

Somersault in a Coffin (Turkish: Tabutta Rövasata, 1996), directed by Dervis Zaim
Istanbul Tales (Turkish: Anlat İstanbul, 2005), directed by Selim Demirdelen, Kudret Sabancı, Ümit Ünal, Yücel Yolcu and Ömür Atay
Head-On (German: Gegen die Wand / Turkish: Duvara Karşı, 2004), directed by Fatih Akın
Crossing the Bridge: The Sound of Istanbul (Turkish: İstanbul Hatırası: Köprüyü Geçmek, 2005), directed by Fatih Akın




= Chapter 6: The Absent Women of New Turkish Cinema

=
The absence of women, a major defining characteristic of new Turkish cinema, is discussed by the author, who suggests this is shaped by an ambivalence of the filmmakers who subordinate women to men and deny them agency but have a critical self-awareness of their complicity with patriarchal society.



Filmography

Vasfiye is Her Name (Turkish: Adı Vasfiye, 1985), directed by Atıf Yılmaz




= Afterword

=
The author provides a general assessment of new Turkish cinema on the basis of the arguments in the preceding chapters.




References






External links


Official website from the publisher
Turkey’s new wave cinema tackles difficult topics by Asmuan Suner on Today's Zaman

Kata Kunci Pencarian:

• Istanbul
• Sinema Turki
• Harry Potter
• MBC4
• Teori queer
• My Name Is Khan
• Nasruddin
• Genosida Armenia
• Daftar film bertema lesbian, gay, biseksual dan transgender
• Hugh Jackman
• Cinema of Turkey
• New Turkish Cinema
• Turkish Radio and Television Corporation
• Turks in Germany
• Turkish lira
• Turkish Americans
• 19th Busan International Film Festival
• Nazar (amulet)
• Revaluation of the Turkish lira
• Turkey