Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

This chapter provides an overview and analysis of key periods, directors, feature films and aesthetic styles in Turkish independent cinema. Without financial backing, little public interest and an authoritarian censorship board—curtailing individualistic and political forms of expression—Turkish independent cinema developed, against all odds, in the 1960s. Since then, independent filmmaking has evolved due to different movements that were led by urban and well-educated directors. Yet, many of these cinematic movements never made it past their fringe existence because Turkey’s mainstream film industry has always relied on commercial and entertainment aspects in film production. As a result, these movements played a rather minor role in the country’s overall cinema history; nevertheless, their influence and importance with respect to inspiring new generations of filmmakers continues to until today.
LanguageEnglish
Title of host publicationIndependent Filmmaking Around the Globe
EditorsDoris Baltruschat, Mary P. Erickson
Place of PublicationToronto
Pages131-148
Publication statusPublished - 22 Apr 2015

Fingerprint

Radicalism
Cinema
Public Interest
Film Industry
Filmmaking
Filmmaker
1960s
History of Cinema
Censorship
Feature Films
Aesthetics
Entertainment
Backing
Turkey
Film Production

Keywords

  • independent cinema
  • film
  • cinema
  • media
  • Turkish cinema
  • Turkey

Cite this

Akser, M. (2015). Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism. In D. Baltruschat, & M. P. Erickson (Eds.), Independent Filmmaking Around the Globe (pp. 131-148). Toronto.
Akser, Murat. / Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism. Independent Filmmaking Around the Globe. editor / Doris Baltruschat ; Mary P. Erickson. Toronto, 2015. pp. 131-148
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abstract = "This chapter provides an overview and analysis of key periods, directors, feature films and aesthetic styles in Turkish independent cinema. Without financial backing, little public interest and an authoritarian censorship board—curtailing individualistic and political forms of expression—Turkish independent cinema developed, against all odds, in the 1960s. Since then, independent filmmaking has evolved due to different movements that were led by urban and well-educated directors. Yet, many of these cinematic movements never made it past their fringe existence because Turkey’s mainstream film industry has always relied on commercial and entertainment aspects in film production. As a result, these movements played a rather minor role in the country’s overall cinema history; nevertheless, their influence and importance with respect to inspiring new generations of filmmakers continues to until today.",
keywords = "independent cinema, film, cinema, media, Turkish cinema, Turkey",
author = "Murat Akser",
note = "Reference text: Akser, Murat. “Yılmaz G{\"u}ney’s Beautiful Losers: Idiom and Performance in Turkish Political Film,” in Deniz Bayrakdar, editor. Cinema and Politics: Turkish Cinema and the New Europe, (Cambridge: Cambridge Scholars Publishing, 2009). Akser, Murat. Green Pine Resurrected: Film Genre, Parody and Intertextuality in Turkish Cinema (Lambert, 2010). Arslan, Savaş. Cinema in Turkey: A New Critical History (New York: Oxford University Press, 2011). Arslan, Savaş. “The New Cinema of Turkey.” New Cinemas 7:1 (2009), 83-97. Atakev, Eylem, ed. Directory of World Cinema: Turkey (London: Intellect, 2012). Atam, Zahit. Yakın Plan Yeni T{\"u}rkiye Sineması (New Turkish Cinema in Close-up) (İstanbul: Cadde Yayınları, 2011). Atam, Zahit. “Critical Thoughts on the New Turkish Cinema.” In Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Cambridge: Cambridge Scholars Publishing, 2009), 202-220. Bayrakdar, Deniz, ed. Cinema and Politics: Turkish Cinema and the New Europe (Cambridge: Cambridge Scholars, 2009). Christensen, Miyase and Nezih Erdoğan, eds. Shifting Landscapes: Film and Media in European Context (Cambridge: Cambridge Scholars, 2010). {\cC}avuşoğlu, Neslihan. 1990 Sonrası T{\"u}rkiyede Bağımsız Sinema (Post-1990 Independent Cinema in Turkey). MA Thesis (Marmara University, İstanbul, 2006). D{\"o}nmez-Colin, G{\"o}n{\"u}l. Turkish Cinema: Identity, Distance and Belonging (London: Reaktion Books, 2008). Daldal, Aslı. Art, Politics and Society: Social Realism in Italian and Turkish Cinemas (İstanbul: İsis Press, 2003). Evren, Bur{\cc}ak.“T{\"u}rk Sinemasında Yeni Bir D{\"o}nem: Bağımsız Sinemacılar.” (A New Era in Turkish Cinema: Independent Filmmakers) Antrakt. 75-76 (2004): 14-39. Gevgilili, Ali. {\cC}ağını Sorgulayan Sinema (Cinema Questions the Times) (İstanbul: Bağlam, 1989). Paneli, Hisar. “Hisar, bizim i{\cc}in {\cc}ekim merkeziydi” (“Hisar was a Center of Attraction for Us”). (2005). http://www.mafm.boun.edu.tr/files/181_Eski_Hisarlar_Paneli.pdf Holmlund, Chris and Justin Wyatt, eds. Contemporary American Independent Film (London: Routledge, 2005). Levy, Emanuel. Cinema of the Outsiders: The Rise of American Independent Film (New York: NYU Press, 1999). Refiğ, Halit. Ulusal Sinema Kavgası (Fight for a National Cinema) (İstanbul: Hareket, 2009). Scognamillo, Giovanni. T{\"u}rk Sinema Tarihi (History of Turkish Cinema) (İstanbul: Kabalcı, 2003). Sivas, Ala. “T{\"u}rk Sinemasında Bağımsızlık Anlayışı ve Temsilcileri”(“Conception of Independence in Turkish Cinema and its Representatives”), in T{\"u}rk ve D{\"u}nya Sineması {\"U}zerine Sentezler (Syntheses on Turkish and World Cinema), Serpil Kırel, ed. (İstanbul: Parş{\"o}men Yayıncılık, 2011), 121-146. Suner, Asuman. New Turkish Cinema: Belonging, Identity and Memory (London: IB Tauris, 2010). S{\"u}alp, T{\"u}l Akbal. “Bağımsız Sinema Kim(ler)den ve Ne(ler)den Oluşur?” (“Who and What are the Independent Cinema?”), Antrakt, 75–76 (2003-2004), 20-22. Teksoy, Rekin. Turkish Cinema (İstanbul: Oğlak, 2007). Tzioumakis, Yannis. American Independent Cinema: An Introduction (Camden, NJ: Rutgers University Press, 2006). Woodhead, Christine, ed. Turkish Cinema: An Introduction (London: Centre of Near & Middle Eastern Studies, School of Oriental and African Studies, University of London, 1989).]",
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Akser, M 2015, Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism. in D Baltruschat & MP Erickson (eds), Independent Filmmaking Around the Globe. Toronto, pp. 131-148.

Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism. / Akser, Murat.

Independent Filmmaking Around the Globe. ed. / Doris Baltruschat; Mary P. Erickson. Toronto, 2015. p. 131-148.

Research output: Chapter in Book/Report/Conference proceedingChapter

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N1 - Reference text: Akser, Murat. “Yılmaz Güney’s Beautiful Losers: Idiom and Performance in Turkish Political Film,” in Deniz Bayrakdar, editor. Cinema and Politics: Turkish Cinema and the New Europe, (Cambridge: Cambridge Scholars Publishing, 2009). Akser, Murat. Green Pine Resurrected: Film Genre, Parody and Intertextuality in Turkish Cinema (Lambert, 2010). Arslan, Savaş. Cinema in Turkey: A New Critical History (New York: Oxford University Press, 2011). Arslan, Savaş. “The New Cinema of Turkey.” New Cinemas 7:1 (2009), 83-97. Atakev, Eylem, ed. Directory of World Cinema: Turkey (London: Intellect, 2012). Atam, Zahit. Yakın Plan Yeni Türkiye Sineması (New Turkish Cinema in Close-up) (İstanbul: Cadde Yayınları, 2011). Atam, Zahit. “Critical Thoughts on the New Turkish Cinema.” In Cinema and Politics: Turkish Cinema and the New Europe, edited by Deniz Bayrakdar (Cambridge: Cambridge Scholars Publishing, 2009), 202-220. Bayrakdar, Deniz, ed. Cinema and Politics: Turkish Cinema and the New Europe (Cambridge: Cambridge Scholars, 2009). Christensen, Miyase and Nezih Erdoğan, eds. Shifting Landscapes: Film and Media in European Context (Cambridge: Cambridge Scholars, 2010). Çavuşoğlu, Neslihan. 1990 Sonrası Türkiyede Bağımsız Sinema (Post-1990 Independent Cinema in Turkey). MA Thesis (Marmara University, İstanbul, 2006). Dönmez-Colin, Gönül. Turkish Cinema: Identity, Distance and Belonging (London: Reaktion Books, 2008). Daldal, Aslı. Art, Politics and Society: Social Realism in Italian and Turkish Cinemas (İstanbul: İsis Press, 2003). Evren, Burçak.“Türk Sinemasında Yeni Bir Dönem: Bağımsız Sinemacılar.” (A New Era in Turkish Cinema: Independent Filmmakers) Antrakt. 75-76 (2004): 14-39. Gevgilili, Ali. Çağını Sorgulayan Sinema (Cinema Questions the Times) (İstanbul: Bağlam, 1989). Paneli, Hisar. “Hisar, bizim için çekim merkeziydi” (“Hisar was a Center of Attraction for Us”). (2005). http://www.mafm.boun.edu.tr/files/181_Eski_Hisarlar_Paneli.pdf Holmlund, Chris and Justin Wyatt, eds. Contemporary American Independent Film (London: Routledge, 2005). Levy, Emanuel. Cinema of the Outsiders: The Rise of American Independent Film (New York: NYU Press, 1999). Refiğ, Halit. Ulusal Sinema Kavgası (Fight for a National Cinema) (İstanbul: Hareket, 2009). Scognamillo, Giovanni. Türk Sinema Tarihi (History of Turkish Cinema) (İstanbul: Kabalcı, 2003). Sivas, Ala. “Türk Sinemasında Bağımsızlık Anlayışı ve Temsilcileri”(“Conception of Independence in Turkish Cinema and its Representatives”), in Türk ve Dünya Sineması Üzerine Sentezler (Syntheses on Turkish and World Cinema), Serpil Kırel, ed. (İstanbul: Parşömen Yayıncılık, 2011), 121-146. Suner, Asuman. New Turkish Cinema: Belonging, Identity and Memory (London: IB Tauris, 2010). Süalp, Tül Akbal. “Bağımsız Sinema Kim(ler)den ve Ne(ler)den Oluşur?” (“Who and What are the Independent Cinema?”), Antrakt, 75–76 (2003-2004), 20-22. Teksoy, Rekin. Turkish Cinema (İstanbul: Oğlak, 2007). Tzioumakis, Yannis. American Independent Cinema: An Introduction (Camden, NJ: Rutgers University Press, 2006). Woodhead, Christine, ed. Turkish Cinema: An Introduction (London: Centre of Near & Middle Eastern Studies, School of Oriental and African Studies, University of London, 1989).]

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AB - This chapter provides an overview and analysis of key periods, directors, feature films and aesthetic styles in Turkish independent cinema. Without financial backing, little public interest and an authoritarian censorship board—curtailing individualistic and political forms of expression—Turkish independent cinema developed, against all odds, in the 1960s. Since then, independent filmmaking has evolved due to different movements that were led by urban and well-educated directors. Yet, many of these cinematic movements never made it past their fringe existence because Turkey’s mainstream film industry has always relied on commercial and entertainment aspects in film production. As a result, these movements played a rather minor role in the country’s overall cinema history; nevertheless, their influence and importance with respect to inspiring new generations of filmmakers continues to until today.

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Akser M. Turkish Independent Cinema: Between Bourgeois Auterism and Political Radicalism. In Baltruschat D, Erickson MP, editors, Independent Filmmaking Around the Globe. Toronto. 2015. p. 131-148