Abstract
| Language | English |
|---|---|
| Pages | 116-119 |
| Journal | Historical Journal of film, radio and television |
| Volume | 34 |
| Issue number | 1 |
| Early online date | 4 Dec 2013 |
| DOIs | |
| Publication status | Published - 1 Jan 2014 |
Fingerprint
Keywords
- women
- film
- cinema
- gender
- Turkish
Cite this
}
Women and Turkish Cinema: gender politics, cultural identity and representation. / Akser, Murat.
In: Historical Journal of film, radio and television, Vol. 34, No. 1, 01.01.2014, p. 116-119.Research output: Contribution to journal › Article
TY - JOUR
T1 - Women and Turkish Cinema: gender politics, cultural identity and representation
AU - Akser, Murat
N1 - Reference text: Eylem Atakav. Women and Turkish Cinema: gender politics, cultural identity and representation, London, Routledge, 2013
PY - 2014/1/1
Y1 - 2014/1/1
N2 - There has been a significant recent increase in the number of English-language monographs on Turkish cinema. Savas Arslan’s Cinema in Turkey (2010), Asuman Suner’s New Turkish Cinema (2010) and Gonul Donmez-Colin’s specialized volumes (The Routledge Dictionary of Turkish Cinema, 2013; Turkish Cinema: identity, distance andbelonging; 2013) attest to this new proliferation. Eylem Atakav’s book focuses on women and Turkish cinema in the context of politics, cultural identity and representation. The book’s central claim is that enforced depoliticization introduced after the coup of 1980 is responsible for uniting feminism and film in Turkey. Atakav claims that the feminist movement was not perceived as politically significant during that decade, thus it was allowed to flourish. These films focused on individuals, on women’s issues and lives, while trying to avoid being perceived as overtly political.
AB - There has been a significant recent increase in the number of English-language monographs on Turkish cinema. Savas Arslan’s Cinema in Turkey (2010), Asuman Suner’s New Turkish Cinema (2010) and Gonul Donmez-Colin’s specialized volumes (The Routledge Dictionary of Turkish Cinema, 2013; Turkish Cinema: identity, distance andbelonging; 2013) attest to this new proliferation. Eylem Atakav’s book focuses on women and Turkish cinema in the context of politics, cultural identity and representation. The book’s central claim is that enforced depoliticization introduced after the coup of 1980 is responsible for uniting feminism and film in Turkey. Atakav claims that the feminist movement was not perceived as politically significant during that decade, thus it was allowed to flourish. These films focused on individuals, on women’s issues and lives, while trying to avoid being perceived as overtly political.
KW - women
KW - film
KW - cinema
KW - gender
KW - Turkish
UR - https://pure.ulster.ac.uk/en/searchAll/index/?search=11616657&pageSize=25&showAdvanced=false&allConcepts=true&inferConcepts=true&searchBy=PartOfNameOrTitle
U2 - 10.1080/01439685.2013.852725
DO - 10.1080/01439685.2013.852725
M3 - Article
VL - 34
SP - 116
EP - 119
JO - Historical Journal of film, radio and television
T2 - Historical Journal of film, radio and television
JF - Historical Journal of film, radio and television
SN - 0143-9685
IS - 1
ER -