Gonul Donmez-Colin – författare

The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day.

Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations.

Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.

The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day.

Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations.

Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.

This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women''s film-making.

Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema''s approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women''s interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of ''deterritorialized'' film-makers negotiating loyalties to both vatan (motherland) and the adopted country.

This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.

This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women''s film-making.

Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema''s approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women''s interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of ''deterritorialized'' film-makers negotiating loyalties to both vatan (motherland) and the adopted country.

This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.