Talk:Kurdish cinema/Archive 1

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Archive 1

Semi-protected edit request on 30 September 2016

Declined request

The art of motion-picture making within Kurdistan (or the Kurdish cinema; in Kurdish: سینەمای کوردی) by native Kurdish or Kurdish filmmakers abroad is collectively known as Kurdish Cinema. Because Kurds in the Middle East, numbering more than 30 million and scattered among several countries, constitute one of the largest ethane population in the world without a country, the geographical region known as Kurdistan has been dived historical between four country; Iraq, Iran, Syria and Turkey. Because Kurds in the Middle East, numbering more than 30 million and scattered among several countries, constitute one of the largest ethane population in the world without a country, mostly inhabiting a contiguous area spanning adjacent parts of eastern and southeastern Turkey (North Kurdistan), western Iran (Eastern Kurdistan), northern Iraq (South Kurdistan), and northern Syria (West Kurdistan or Rojava). Kurdish filmmakers working in these countries have also contribute to the development of their national cinema.[1]

The first film of the Kurdish cinema, Zare was shot in Armenia and directed by Hamo Beknazarian[2] in 1926. Kurdish cinema focuses on the issue expresses by all minorities, such as persecution, repression, exile, poverty, war, banishment, etc. The emergence of Kurdish cinema date back to the 1990s. Although in the past many films, like Zare, (1926), has already dealt with Kurdish themes, it was only in the 1990s that large numbers of films were convoked and produced by Kurdish directors, that was deep rooted in Kurdish culture.[3]

One of the founding father of Kurdish cinema, a figure that is admired by Kurdish Filmmakers today is Yilmaz Güney, despite all the restriction that was force upon him by the Turkish Government, Guney managed to portray the richness of Kurdish cultures in his films, such as Sürü and Yol.[4] Over the years Kurdish cinema has symbolized mainly the sufferings of the Kurdish people in the Middle East. In recent years, Kurdish cinema has achieved high critical acclaim and recognition, seen critical and international success over the years with films by directors like Bahman Qubadi, Hiner Saleem,[5] Yüksel Yavuz, Taha Karimi, and Karzan Kardozi.[6]

The following is a list of some better known Kurdish films that are critically acclaimed, won various awards, and have the highest rating[7] on IMDB are:

New Kurdish Documentary Movement

In the past decade, a new style of New Kurdish Documentary Movement has taken shape in all four part of Kurdistan. Kurdish filmmakers uses documentary films as a tool to educate mainly Western viewers, especially showing their films in Film Festivals and over Social Networking sites to bring attention to the past historical and current evens that has and is taking place in Kurdistan,[8] many of these documentaries are shot in cinema Cinéma vérité styles, with small budget and crews.the New Kurdish Documentary Movement of filmmaking presented a documentary style with direct sounds on film, required less light, shooting at natural light and on location. Filming techniques included fragmented, discontinuous editing or long takes to present reality without manipulation. The combination of objective realism, subjective realism, and authorial commentary created a narrative ambiguity in the sense that questions that arise in a film are not answered in the end.[9] Many topics of the film deals with the past or present Kurdish issue when the films were made,[10] such the Kurdish Refugees crisis in Karzan Kardozi's I Want to Live, the Kurdish genocide of Al-Anfal campaign in Taha Karimi's 1,001 Apples (2013), and the daily lives and struggle of the Kurdish PKK fighters in Ertugrul Mavioglu's Bakur (2015). Notable films of this movement include:

  • Gulistan, Land of Roses (2016)[11]
  • I Want to Live (Karzan Kardozi, 2015) [12]
  • Bakur (Çayan Demirel & Ertugrul Mavioglu, 2015)[13]
  • 1,001 Apples (Taha Karimi, 2013)[14]

In other parts of Kurdistan, such as in Turkey's Kurdistan, because of Turkish Government censorship, over the years Kurdish cinema has developed largely in exile by transitional filmmakers such as; Yilmaz Aralan, Ayse Polat, Nuray Sahin, Kudret Gunes are some of the distinguished names.[15]

References

  1. ^ Bengio, Ofra (2014). Kurdish Awakening: Nation Building in a Fragmented Homeland. University of Texas Pres.
  2. ^ Bahun, Sanja; Haynes, John (Jul 25, 2014). Cinema, State Socialism and Society in the Soviet Union and Eastern Europe, 1917-1989:. Routledge. p. 52. ISBN 1317818725.
  3. ^ Berger, Verena; Komori, Miya (2010). Polyglot Cinema: Migration and Transcultural Narration in France, Italy, Portugal and Spain. LIT Verlag Münster. p. 111. ISBN 9783643502261.
  4. ^ Biswas, Pradip (1999). Yilmaz Guney: Cineaste Militant. USA: the University of Michigan. p. 10.
  5. ^ Koksal, Ozlem (2016). Aesthetics of Displacement: Turkey and its Minorities on Screen. USA: Bloomsbury Publishing. p. 123.
  6. ^ C. LoBaido, Anthony; Rozario, Paul (2003). The Kurds of Asia. Lerner Publications. p. 40. ISBN 0822506645.
  7. ^ IMDB. "Most Popular "Kurdistan" Titles". IMDB. IMDB. Retrieved 18 September 2016.
  8. ^ Cardullo, Bert (2012). World Directors and Their Films: Essays on African, Asian, Latin American, and Middle Eastern Cinema. Scarecrow Press. p. 210. ISBN 0810885247.
  9. ^ Berger, Verena; Komor, Miya (2010). Polyglot Cinema: Migration and Transcultural Narration in France, Italy, Portugal and Spain. LIT Verlag Münster. ISBN 9783643502261.
  10. ^ Olson, Debbie C; Scahill, Andrew (2012). Lost and Othered Children in Contemporary Cinema. USA: Lexington Books. p. 9780739170250.
  11. ^ Alobalist. "Gulistan, terre de roses: il film sulle combattenti curde vince il Milano Film Festiva". Globalist.it. Globalist.it Cite.
  12. ^ Cardullo, Bert (2012). World Directors and Their Films: Essays on African, Asian, Latin American, and Middle Eastern Cinema. USA: Scarecrow Press. p. 215. ISBN 0810885247.
  13. ^ Letsch, Constanze. "Film-makers withdraw from Istanbul festival in censorship protest". TheGuardianWeb. TheGuardian. Retrieved 13 April 2015.
  14. ^ Hill, Jessica. "1001 Apples departs a poignant message". TheNational. Retrieved December 11, 2013.
  15. ^ Dönmez-Colin, Gönül (Dec 4, 2013). The Routledge Dictionary of Turkish Cinema. USA: Routledge. p. 33. ISBN 1317937244.

- LeTroubecker (talk) 00:02, 1 October 2016 (UTC)

Not done: Over the course of a week, I Want to Live is a page that has been deleted many times by administrators and remade many times by you, an editor banned from Wikipedia. DARTHBOTTO talk•cont 08:00, 2 October 2016 (UTC)

Semi-protected edit request on 14 September 2017

I want to put and translate the infomation which is missing from the german page "https://de.wikipedia.org/wiki/Kurdischer_Film" to the english page to provide more information to this topic. EiersalatmitGurken (talk) 18:06, 14 September 2017 (UTC)

Not done: requests for decreases to the page protection level should be directed to the protecting admin or to Wikipedia:Requests for page protection if the protecting admin is not active or has declined the request. —KuyaBriBriTalk 18:35, 14 September 2017 (UTC)

And who is the protecting admin? EiersalatmitGurken (talk) 23:07, 14 September 2017 (UTC)


Thanks for letting me finally provide information EiersalatmitGurken (talk) 23:07, 28 November 2018 (UTC)

Socking

Due to the amount of times this article has been protected because of a sockpuppeter, I've indef'd the semiprotection on this article. ReaderofthePack(formerly Tokyogirl79) (｡◕‿◕｡) 03:16, 23 September 2020 (UTC)

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