Studies in Literature, Drama, and Film
Chapter 2. Language and Identity in the Renaissance of Kurdish Cinema
← 8 | 9 →
· 2 ·
LANGUAGE AND IDENTITY IN THE RENAISSANCE OF KURDISH CINEMA
The topic of this paper raises many of the themes that are currently at the center of the preoccupation of literary and socio-political studies worldwide—themes and topics like globalism and globalization, immigration and migration, diasporas and “hybridity”, cultural co-existence and cultural conflict, marginalization and discrimination, racism and sexism, and, as it sadly becomes more bloody, murders and massacres, war and genocide. It is my hope to demonstrate that the medium of film, and specifically the films of contemporary Kurdish directors, provides as rich and as powerful an expression of these topics as those provided by the more widely discussed genres of literature. Kurdish cinema, as testimony to its astounding achievement, has, in a very short period of time, increasingly caught the attention of academic scholars (see particularly Gugler, 29–30 and Shafik, 43, 238–40).
A panel of major international film specialists, towards the end of the last century, named Abbas Kiarostami (b. 1940) as the most important film director of the 1990s in the world. This is an indication of the impact of what has now come to be called the Iranian Film Renaissance has had on world cinema. Kiarostami’s films were described as powerful not only for the wisdom and lyricism that they displayed, but also for their profound insight into the nature of the art of cinema generally, and he has been identified as “one of...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.