1,720,994 research outputs found
Directory of World Cinema: Turkey
No full textSince the 1990s. filmmakers in Turkey have increasingly explored notions of gender, genre, cultural memory, and national and transnational identity. Taking these themes as its starting point, this volume of the Directory of World Cinema - the first English-language directory of Turkish films -- provides an extensive historical overview of the country's cinema since the early 1920s. In chapters organised by genre - such as fantasy and science fiction, contemporary blockbusters, women's films, Istanbul films, and transnational or accented cinema - leading scholars of Turkish cinema offer reflections on the country's most important film movements and filmmakers. In the process, they illuminate the industrial, cultural, and political contexts in which the films they address were produced, exhibited, and circulated. The resulting volume, which includes a comprehensive filmography and recommendations for those interested in further exploration, will be an indispensable reference for scholars and students of Turkish cinema
Growing Up Married: Representing forced marriage on screen
Full text linkAccording to the UNICEF report entitled ‘Ending Child Marriage: Progress and Prospects’ (2014), there are 700 million women who were married as children, and 280 million girls are at risk of becoming child brides. In Turkey, according to the reports written by feminist organisations 1 in 3 marriages there is a child. These figures are alarming and signal the need for further and urgent research in the field. In 2016 I made my first ever film entitled Growing Up Married. The film explores what happens after child marriage by focusing on the stories of four women from Turkey and making their experiences visible and audible, in an attempt to contribute to and advance debates around this significant, complex and emotionally charged human rights issue which has often been discursively silenced. Working on a documentary film on forced marriage in Turkey poses challenges to me as a UK-trained and based academic, who focuses on theories around feminism and media rather than filmmaking practice. In this article, I critically reflect upon the process of making a documentary film, and theories around interviewing women to examine the tensions inherent within representing forced marriage on screen
Lifeline
No full textDuring lockdown the UK has seen a significant increase in the number of domestic abuse related calls to helplines, with some charities reporting over 200% increase at a time when there was over 70% reduction in service delivery as a result of the pandemic. How did the domestic abuse services sector cope with the pandemic? What were the experiences of the frontline workers of the domestic abuse sector? With a range of interviews recorded on Zoom during and at the end the lockdown period, this film offers for the first time, first-hand accounts of keyworkers and key players of the domestic abuse services from their own voices and images. The interviews offer exclusive stories of keyworkers reflecting on their experiences of vicarious trauma, how they worked selflessly while dealing with the implications of the pandemic themselves
The impact of documentary filmmaking: Academics as agents of social and political change
Full text linkIn this article, I draw on three documentaries I have made (Growing Up Married [2016], Lifeline [2020], and Left Behind [2023]) on different forms of gendered violence. I use these as examples to discuss ways in which films made within academic contexts can inform and influence policy. While doing so I reflect on how I built a network of policy makers and charities and used film as a potentially useful tool for partnership development. I explore how scholars can consider filmmaking as a form of activism while arguing that strategies developed within the frame of creative practice afford us alternative ways of promoting social, cultural and political change. I examine the relationship between academic research and activism and the specific role that filmmaking can play in enhancing/problematising this relationship, and argue that the cultivation of impact (as activism) goes beyond institutional, and funding imperatives.
 
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