Cinema and other cultural forms reflect political tensions and conflicts, which provide the backdrop for Turkey's accession to the European Union (EU). This article examines contemporary cinematic reflections upon a distant past characterized by religious imperialism, a recent past
characterized by secular nationalism, and the conflict between the past and present socio-cultural and political transformations. To do so, It will first outline the transition from popular Turkish cinema to the new cinema of Turkey. Focusing on three recent films, it will, on the one hand,
trace the resurgence of nationalism and, on the other hand, the impact of globalization and post-nationalism. Finally, it will critically examine the concept of Turkish cinema and propose an alternative framework which reflects the multitude of voices and viewpoints in the contemporary cinema
The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.