Representing ethnicity in cinema during Turkey’s Kurdish Initiative: a critical analysis of My Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011)

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dc.contributor.authorKoçer, Zeynep
dc.contributor.authorGöztepe, Mustafa Orhan
dc.date.accessioned2018-05-08T11:21:12Z
dc.date.available2018-05-08T11:21:12Z
dc.date.issued2017
dc.description.abstractIn 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.en
dc.description.statusPeer revieweden
dc.description.versionPublished Versionen
dc.format.mimetypeapplication/pdfen
dc.identifier.citationKoçer, Z. and Göztepe, M. O. (2017) 'Representing ethnicity in cinema during Turkey’s Kurdish Initiative: a critical analysis of My Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011) ', Alphaville: Journal of Film and Screen Media, 13, pp. 54-68. https://doi.org/10.33178/alpha.13.03en
dc.identifier.doihttps://doi.org/10.33178/alpha.13.03
dc.identifier.endpage68
dc.identifier.issn2009-4078
dc.identifier.issued13
dc.identifier.journalabbrevAlphaville
dc.identifier.journaltitleAlphaville: Journal of Film and Screen Mediaen
dc.identifier.startpage54
dc.identifier.urihttps://hdl.handle.net/10468/6028
dc.language.isoenen
dc.publisherFilm and Screen Media, University College Corken
dc.relation.urihttp://www.alphavillejournal.com/Issue13/13_3Article_Kocer&Goztepe.pdf
dc.rights© 2017, The Author(s)en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0/
dc.subjectCivil rightsen
dc.subjectKurdish Initiativeen
dc.subjectIdentityen
dc.subjectTransnationalityen
dc.subjectIndependent filmen
dc.subjectProgressive narrativeen
dc.subjectHüseyin Karabeyen
dc.subjectKazım Özen
dc.subjectÖzcan Alperen
dc.subjectGitmek: Benim Marlon ve Brandomen
dc.subjectBahozen
dc.subjectGelecek Uzun Süreren
dc.subjectSymbolic representationen
dc.subjectDiscriminative processesen
dc.subjectMemoryen
dc.subjectTraumaen
dc.titleRepresenting ethnicity in cinema during Turkey’s Kurdish Initiative: a critical analysis of My Marlon and Brando (Karabey, 2008), The Storm (Öz, 2008) and Future Lasts Forever (Alper, 2011)en
dc.typeArticle (peer-reviewed)en
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Alphaville: Journal of Film and Screen Media. Issue 13: Screening Race