New Turkish Cinema – Some Remarks On The Homesickness Of The Turkish Soul

Agnieszka Ayşen Kaim

doi:10.5195/cinej.2011.23

Abstract

Contemporary cinematography reflects the dualism in modern Turkish society. The heart of every inhabitant of Anatolia is dominated by homesickness for his little homeland. This overpowering feeling affects common people migrating in search of work as well as intellectuals for whom Istanbul is a place for their artistic development but not the place of origin. The city and “the rest” have been considered in opposition to each other. The struggle between “the provincial” and “the urban” has even created its own film genre in Turkish cinematography described as “homeland movies”. They paint the portrait of a Turkish middle class intellectual on the horns of a dilemma, the search for a modern identity and a place to belong in a modern world where values are constantly shifting.

Highlights

The struggle between “the provincial” and “the urban” has even created its own film genre in Turkish cinematography described as “homeland movies”. They paint the portrait of a Turkish middle class intellectual on the horns of a dilemma, the search for a modern identity and a place to belong in a modern world where values are constantly shifting
This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press
Over the last 10 years, Turkish cinematography has become recognised as the “New cinema of Turkey” thanks to appearances in festivals in Rotterdam, Linz, New York and Wrocław, Poland (“Era New Horizons”, 2010)

Summary

Introduction

This is a provincial-urban opposition, and this struggle between the village and the city has even created its own film genre in Turkish cinematography which is defined in German as a Heimatfilme (which translates to “homeland movie”).

Results

Conclusion