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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

Dinç, Enis; Akser, Murat
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 Video – University of Illinois Press

Published: Dec 4, 2019

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