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New Turkish Cinema–Individual Tales of Common Concerns

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For several years until the beginning of the 1990s, Turkish cinema seemed to be suffering from a paucity of ideas, or a synthesis of experiences in relation to life as it is lived. Following the impact made by Yilmaz Guney and courageous works by a number of talented filmmakers, such as Ali Özgenturk and Erden Kiral, the momentum was gradually lost, taking with it creativity and originality. Several rural films were made — mostly by urban directors--as if to cash in on a successful formula, and leftist ideology was used almost as if following a fashion, without sincerity or conviction.
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Keywords: Europe; Turkey; cinema; directors; filmmakers; ideology

Document Type: Research Article

Publication date: March 1, 2003

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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