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Four Women in the Harem (1965) by Halit Refiğ: The Construction of "National Cinema" in Turkey

Four Women in the Harem (1965) by Halit Refiğ: The Construction of "National Cinema" in Turkey Four Women in the Harem (1965) by Halit Refig ˘: The Construction of “National Cinema” in Turkey enis dinç and murat akser on july 27, 1966, the renowned Turkish Akser 61). Refig ˘’s selection of this film after film director Halit Refig ˘ angrily left a panel dis ­ the fact was far from random. Rather, it was cussion on Turkish cinema. Organized by the a conscious act because Four Women in the film writers’ association Sinematek, the panel Harem made statements not only about the was titled “The Social Structure of Turkey, Turk­ past but also about the then­present discus ­ ish Cinema and Its Future.” According to Refig ˘, sion on the identity of Turkish cinema. It is an the panel had expanded from a discussion of early example that both reflects and constructs Turkish cinema and its future and turned into some of the key aspects of what Refig ˘ would a courtroom in which Turkish filmmakers were later call national cinema. put on trial, and filmmakers including Refig ˘ By taking a traditional social institution, the were deeply insulted at being framed as the harem in transition, as the film’s subject and enemies of society http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Four Women in the Harem (1965) by Halit Refiğ: The Construction of "National Cinema" in Turkey

Journal of Film and Video , Volume 71 (4) – Dec 4, 2019

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Four Women in the Harem (1965) by Halit Refig ˘: The Construction of “National Cinema” in Turkey enis dinç and murat akser on july 27, 1966, the renowned Turkish Akser 61). Refig ˘’s selection of this film after film director Halit Refig ˘ angrily left a panel dis ­ the fact was far from random. Rather, it was cussion on Turkish cinema. Organized by the a conscious act because Four Women in the film writers’ association Sinematek, the panel Harem made statements not only about the was titled “The Social Structure of Turkey, Turk­ past but also about the then­present discus ­ ish Cinema and Its Future.” According to Refig ˘, sion on the identity of Turkish cinema. It is an the panel had expanded from a discussion of early example that both reflects and constructs Turkish cinema and its future and turned into some of the key aspects of what Refig ˘ would a courtroom in which Turkish filmmakers were later call national cinema. put on trial, and filmmakers including Refig ˘ By taking a traditional social institution, the were deeply insulted at being framed as the harem in transition, as the film’s subject and enemies of society

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Dec 4, 2019

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