Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism,
In 2009, the Turkish government started the “Kurdish Initiative”, a comprehensive policymaking process, in an attempt to improve the democratic standards and civil rights of the Kurdish population. Even though the initiative ended in 2015, it made it possible for a significant number of independent...
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Format: | Article |
Language: | English |
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University College Cork
2017-07-01
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Series: | Alphaville: Journal of Film and Screen Media |
Subjects: | |
Online Access: | http://www.alphavillejournal.com/Issue13/HTML/ArticleKocer&Goztepe.html |
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author | Zeynep Koçer Mustafa Orhan Göztepe |
author_facet | Zeynep Koçer Mustafa Orhan Göztepe |
author_sort | Zeynep Koçer |
collection | DOAJ |
description | In 2009, the Turkish government started the “Kurdish Initiative”, a comprehensive policymaking process, in an attempt to improve the democratic standards and civil rights of the Kurdish population. Even though the initiative ended in 2015, it made it possible for a significant number of independent films to emerge which deal with the Kurdish issue. Historically, mainstream cinema’s symbolic representation of Kurdish identity served to neutralise its Kurdish characters by portraying them as Turkish speaking and one-dimensional. Breaking this tradition, these independent films offer multi-layered, Kurdish speaking characters with progressive narratives. This article investigates three films produced on the eve of and during the “Kurdish Initiative”: My Marlon and Brando (Gitmek: Benim Marlon ve Brandom, Hüseyin Karabey, 2008), The Storm (Bahoz, Kazım Öz, 2008) and Future Lasts Forever (Gelecek Uzun Sürer, Özcan Alper, 2011). In addition to interrupting the traditional acceptance of stereotypes by the mainstream cinema, each film discusses the symbolic representations of Kurdish identity through different aspects: transnationality, the role of discriminative processes, and memory and trauma. |
first_indexed | 2024-12-11T10:48:07Z |
format | Article |
id | doaj.art-37c1a7fa2747416f8a2402799e1e9ad4 |
institution | Directory Open Access Journal |
issn | 2009-4078 |
language | English |
last_indexed | 2024-12-11T10:48:07Z |
publishDate | 2017-07-01 |
publisher | University College Cork |
record_format | Article |
series | Alphaville: Journal of Film and Screen Media |
spelling | doaj.art-37c1a7fa2747416f8a2402799e1e9ad42022-12-22T01:10:25ZengUniversity College CorkAlphaville: Journal of Film and Screen Media2009-40782017-07-01135468https://doi.org/10.33178/alpha.13.03Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism,Zeynep Koçerhttps://orcid.org/0000-0001-8002-4245Mustafa Orhan Göztepehttps://orcid.org/0000-0001-9600-3596In 2009, the Turkish government started the “Kurdish Initiative”, a comprehensive policymaking process, in an attempt to improve the democratic standards and civil rights of the Kurdish population. Even though the initiative ended in 2015, it made it possible for a significant number of independent films to emerge which deal with the Kurdish issue. Historically, mainstream cinema’s symbolic representation of Kurdish identity served to neutralise its Kurdish characters by portraying them as Turkish speaking and one-dimensional. Breaking this tradition, these independent films offer multi-layered, Kurdish speaking characters with progressive narratives. This article investigates three films produced on the eve of and during the “Kurdish Initiative”: My Marlon and Brando (Gitmek: Benim Marlon ve Brandom, Hüseyin Karabey, 2008), The Storm (Bahoz, Kazım Öz, 2008) and Future Lasts Forever (Gelecek Uzun Sürer, Özcan Alper, 2011). In addition to interrupting the traditional acceptance of stereotypes by the mainstream cinema, each film discusses the symbolic representations of Kurdish identity through different aspects: transnationality, the role of discriminative processes, and memory and trauma.http://www.alphavillejournal.com/Issue13/HTML/ArticleKocer&Goztepe.htmlcivil rightskurdish initiativeidentitytransnationalityindependent filmprogressive narrativehüseyin karabeykazım özözcan alpergitmek: benim marlon ve brandombahozgelecek uzun sürersymbolic representationdiscriminative processesmemorytrauma |
spellingShingle | Zeynep Koçer Mustafa Orhan Göztepe Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, Alphaville: Journal of Film and Screen Media civil rights kurdish initiative identity transnationality independent film progressive narrative hüseyin karabey kazım öz özcan alper gitmek: benim marlon ve brandom bahoz gelecek uzun sürer symbolic representation discriminative processes memory trauma |
title | Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, |
title_full | Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, |
title_fullStr | Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, |
title_full_unstemmed | Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, |
title_short | Humour, Stereotype, Difference, Racist ideologies, African-American, Incongruity, Superiority, Relief, John Eyres, John Michael McDonagh, Social corrective, Racism, |
title_sort | humour stereotype difference racist ideologies african american incongruity superiority relief john eyres john michael mcdonagh social corrective racism |
topic | civil rights kurdish initiative identity transnationality independent film progressive narrative hüseyin karabey kazım öz özcan alper gitmek: benim marlon ve brandom bahoz gelecek uzun sürer symbolic representation discriminative processes memory trauma |
url | http://www.alphavillejournal.com/Issue13/HTML/ArticleKocer&Goztepe.html |
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