DOCSLIB.ORG

Digital Docu-Fiction: a Way to Produce Kurdish Cinema

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Digital Docu-Fiction: a Way to Produce Kurdish Cinema Digital Docu-fiction: A Way to Produce Kurdish Cinema Author Sonboli, Hassan Published 2017 Thesis Type Thesis (Professional Doctorate) School Queensland College of art DOI https://doi.org/10.25904/1912/2259 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366037 Griffith Research Online https://research-repository.griffith.edu.au Digital Docu-fiction: A Way to Produce Kurdish Cinema Hassan Sonboli B. Film &TV production, MA (Hons) Media Production Queensland College of Art, Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Visual Arts January 2017 Abstract This exegesis contextualises my feature-length film The Sultan and the Kings, a studio-based project produced for the Doctorate of Visual Arts. As a Kurdish émigré and filmmaker who left Iran in 1997, lived in Turkey for a couple of years, then emigrated to Australia in 2000, I studied film and also continued the filmmaking practice that I had begun in Iran in 1988. The exegesis examines the shortage of literature about Kurdish films, the misrepresentation of Kurdish filmmaking, the emergence of Kurdish cinema and the obstacles faced by it, as well as the emergence of Kurdish cinematic styles. By considering how my film relates to Kurdish cinema overall, what is referred to as the “cinema under oppression” and the “cinema of diaspora”, this exegesis examines the development of a form of storytelling that I term digital docu-fiction, which blends elements of documentary, fiction and digital film manipulation. Through this form of practice, Kurdish filmmakers aim to take control of the whole process of filmmaking, from production to exhibition. The exegesis discusses this form of storytelling with reference to the development of my own practice and aesthetic, using my short film A Woman with a Digital Camera as an example of digital docu-fiction. In particular, I discuss my major studio work, The Sultan and The Kings, a contemporary version of hybrid Kurdish film in diaspora, which I argue is independent of political and economic interference. Contents Abstract i Contents iii Table of Figures..................................................................................................................... v Acknowledgements ............................................................................................................. vi Statement of Originality .................................................................................................... vii Introduction ............................................................................................................................ 1 A New Form of Filmmaking ................................................................................... 1 My Background ........................................................................................................ 2 Chapter 1 What is Kurdish Cinema?..............................................................................14 The Long but Recently Neglected History of Kurdish Culture........................14 The Scarcity of Literature on Kurdish Cinema ..................................................20 Chapter 2 Issues in Kurdish Cinema and the Emergence of a Kurdish Film Style ...................................................................................................................30 Issues of Kurdish Identity and Representation, and Censorship...................30 Technical Issues ....................................................................................................41 Cinema Under Oppression and Cinema in Diaspora ......................................46 Chapter 3 Strategies for Kurdish Film...........................................................................65 The Kurdish Film Style .........................................................................................65 The Advantages of a Hybrid Genre ....................................................................70 A Woman with a Digital Camera .........................................................................73 The Advantages of Digital Production................................................................91 The Advantages of Digital Distribution...............................................................95 Chapter 4 The Sultan and the Kings ........................................................................... 103 The Sultan and the Kings.................................................................................. 103 Using Non-Actors as “Virtual Characters” ...................................................... 107 Developing the Script During Production ....................................................... 122 Chapter 5 Conclusion ..................................................................................................... 129 References ......................................................................................................................... 133 Filmography....................................................................................................................... 139 Appendixes ........................................................................................................................ 141 Appendix 1: Filmography of Kurdish Films 1926-2016 ................................ 141 Appendix 2: Kurdish-Australian filmmaker realizes boyhood dream with first feature film ....................................................................................................................... 149 Appendix 3: The Plot of The Sultan and the Kings ....................................... 151 Appendix 4: The Sultan and the Kings (DVD) ............................................... 156 A Woman with a Digital Camera (DVD).......................................................... 156 Table of Figures Figure 1: The Calm Before The Storm (1989). Hassan Sonboli behind a Super 8 camera. ......................................................................................................................4 Figure 2: Sharm (1990). Ebrahim Saeedi (director) front left, Hassan Sonboli (cameraman), Logman Farspoor (sound). ..........................................................................5 Figure 3: Tazrigh (1990). Hassan Sonboli (director) front left, Halaleh Farokhy (nurse), Ebrahim Saeedi (cameraman), Khaled Saeedi (patient with bandaged face)7 Figure 4: Pawana, A Girl from Halabja (still frame), actress Melissa Smith ... 12 Figure 5: Publicity poster for A Woman with a Digital Camera ......................... 74 Figure 6: Publicity poster for The Sultan and the Kings................................... 106 Figure 7: King David’s scene: developing process ........................................... 110 Figure 8: King David’s scene: after development ............................................. 111 Figure 9: Hassan Sonboli directing the actor Cooper Ali-Shabazz ................ 120 Figure 10: Cooper Ali-Shabazz holding the pomegranate............................... 121 Figure 11: Hassan Sonboli with Pinocchio the puppet..................................... 124 Figure 12: Harry Piaggio (Pinocchio) during the rehearsal ............................. 125 Figure 13: Script development process .............................................................. 127 Figure 14: Dancing scene using green screen, The Sultan and the Kings, left to right, Aimee Lepetia, Kezhal Reyhani (makeup team), David Beamish, Hassan Sonboli ................................................................................................................................. 128 Acknowledgements I am deeply indebted to my supervisors, who have directed me through the whole process of my doctoral study: Associate Professor Pat Laughren, for his massive support and guidance throughout the exploration and complex journey of my DVA; Associate Professor Trish FitzSimons, for her perceptive view and wise advice during the process of my studio works and while I was developing my thesis; and Dr George Petelin for his intelligence and enlightenment throughout his art theory lectures and during the writing and editing of my final thesis. I would like to thank Dean Chircop for his useful advice during the production and post-production phases of the major studio work and Nick Oughton for his wise comments and valuable guidance. My special thanks goes to all the members and actors who were on the set whenever they were needed. You have all been acknowledged in the closing credits of my films. I am very thankful to my dear friend Margaret Hounslow for her great help and assistance during the writing process. Thanks Margaret – you are the best! Many thanks too for the technical advisers at the Griffith Film School, who have guided me during the production and post-production of my studio works. My special thanks goes to Alex Waller, Brett Wiltshire, Hugh Gormley and James Stafford. Thanks to Anne Demy-Geroe for her useful information and the generous help she offered me. Thanks to Therese Nolan-Brown and Cherie Basile for their advice and help. I am very thankful to my family for their love and support. Gina and Rosina – you have been so good, and thanks for being so patient! The final words of acknowledgment must go to my dear one, Kezhal Reyhni, who has been so patient during all these years of study. Without her support, I could never have accomplished my mission. Kezhal, I love you. Thanks again, to all the people who believed
Load more

Recommended publications
  • Alternative Digital Movies As Malaysian National Cinema A
    Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof.
    [Show full text]
  • Hubert Bals Fund
    HUBERT BALS FUND COMPLETE RESULTS 1988-2016 • Script and Project Development support SELECTION 2016 • Post-production support Almost in Love Brzezicki, Leonardo (Argentina) • The Bridge Lotfy, Hala (Egypt) • Death Will Come and Will Have Your Eyes Torres Leiva, José Luis (Chile) • A Land Imagined Yeo Siew Hua (Singapore)• The Load Glavonic, Ognjen (Serbia) • Men in the Sun Fleifel, Mahdi (Greece) • Narges Rasoulof, Mohammad (Iran) • Octopus Skin Barragán, Ana Cristina (Ecuador) • The Orphanage Sadat, Shahrbanoo (Afghanistan) • The Reports on Sarah and Saleem Alayan, Muayad (Palestine) • Trenque Lauquen Citarella, Laura (Argentina) • White Widow Hermanus, Oliver (South Africa) • The Load, Glavonic, Ognjen (Serbia) During the NATO bombing of Serbia in 1999, Vlada is driving a freezer truck across the country. He does not want to know what the load is, but his cargo slowly becomes his burden. • Script and Project Development support SELECTION 2015 • Post-production support Alba Barragan, Ana Cristina (Ecuador) 2016 • Antigone González-Rubio, Pedro (Mexico) • Arnold Is a Model Student Prapapan, Sorayos (Thailand) • Barzagh Ismailova, Saodat (Uzbekistan) • Beauty and the Dogs Ben Hania, Kaouther (Tunisia) • Brief Story from the Green Planet Loza, Santiago (Argentina) • Burning Birds Pushpakumara, Sanjeewa (Sri Lanka) 2016 • Era o Hotel Cambridge Caffé, Eliane (Brazil) 2016 • The Fever Da-Rin, Maya (Brazil) • La flor Llinás, Mariano (Argentina) 2016 • Hedi Ben Attia, Mohamed (Tunisia) 2016 • Kékszakállú Solnicki, Gastón (Argentina) 2016 • Killing
    [Show full text]
  • Download File (Pdf; 3Mb)
    Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents
    [Show full text]
  • Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
    ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Strategic Master Plan Preview Museum
    STRATEGIC MASTER PLAN PREVIEW MUSEUM MUSEUM OF SCIENCE FICTION Museum of Science Fiction: Strategic Master Plan Contact Any questions regarding this document should be directed to: Greg Viggiano Executive Director Museum of Science Fiction PO Box 88 Alexandria, VA 22313-0088 USA: EARTH: SOL: MILKY WAY [email protected] +1-703-629-4734 Museum of Science Fiction: Proprietary and Confidential 2 Museum of Science Fiction: Strategic Master Plan Document Change Control Date Version Author Change 01/09/2015 Draft .1 MG, RS Initial draft 01/16/2015 Draft .2 GRV. MS Formatting and updates 01/19/2015 Draft .3 JV, MS Updates GRV, JS, MS, 02/26/2015 Final 1.0 Final updates DB, HD Museum of Science Fiction: Proprietary and Confidential 3 Museum of Science Fiction: Strategic Master Plan Table of Contents BACKGROUND 5 MISSION 5 INTRODUCTION TO THE GENRE 5 What is science fiction 5 Why is science fiction important 6 Sub-Genres 6 Popular Media 7 Why is science fiction relevant 7 Why build a science fiction museum 7 STEM EDUCATION AND COMMUNITY INVOLVEMENT 8 Commitment to Education 8 PHASE 1: THE PREVIEW MUSEUM 8 Vision 8 Objectives 9 Target Audiences and Communities 9 Example Community 11 Overall Visitor Experience 11 Themes and Interpretive Threads Error! Bookmark not defined. Visitor Takeaways 12 Concept Exhibit Plan 12 ARCHITECTURE 17 Concept 17 Sociability 17 Program 19 Bubble Diagram 20 Floor Plan 20 Facade 20 Facade 21 Entry 21 APPENDICES 22 Appendix A: References Images 23 Museum of Science Fiction: Proprietary and Confidential 4 Museum of Science Fiction: Strategic Master Plan BACKGROUND The Museum of Science Fiction is a nonprofit organization, established in spring 2013.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion.
    [Show full text]
  • Turtles Can Fly Won Glass Bear and Peace Film Award at the Berlin International Film Festival and the Golden Shell at the San Sebastian International Film Festival
    Alice Hsu Agatha Pai Debby Lin Ellen Hsiao Jocelyn Lin Shirley Fang Tony Huang Xray Du Outline Introduction to the Director --Agatha Historical Background of the film –Ellen Main Argument Themes (4) The Mysterious Center (Debby), (1) Ironies (Tony), (2) US Invasion (Shirley) (3) Survival= Fly (Jocelyn) (5) Agrin Questions Agatha Pai Director Bahman Ghobadi ▸ Born on February 1, 1969 (age 42) in Baneh, Kurdistan Province. ▸ Receive a Bachelor of Arts in film directing from Iran Broadcasting College. ▸ Turtles Can Fly won Glass Bear and Peace Film Award at the Berlin International Film Festival and the Golden Shell at the San Sebastian International Film Festival. Turtles Can Fly ▸ Where did the story of the film come from and how did it take shape in your mind? ▸ With inexperienced children who had never acted before, how did you manage to write the dialogues? Ellen Hsiao Historical Background Kurdistan History: up to7th century ♦ c. 614 B.C.: Indo- European tribe came from Asia into the Iranian plateau ♦ 7th century: Conquered by Arabs many converted to Islam Kurdistan History: 7th – 19th ♦ Kurdistan is also occupied by: Seljuk Turks, the Mongols, the Safavid dynasty, and Ottoman Empire (13th century) ♦ 16th-19th: autonomous Kurdish principalities (ended with the collapse of Ottoman Empire) Kurdistan History: after WWI Treaty of Sevres (1920) ♦ It proposed an autonomous homeland for the Kurds ♦ Rich oil in Kurdistan Treaty of Sevres is rejected ♦ Oppression→ from the host countries Kurdish Inhabited Area Kurdish population mainly spread in: ♦ Turkey (12-14 million) ♦ Iran (7-10 million) ♦ Iraq (5-8 million) ♦ Syria (2-3 million) ♦ Armenia (50,000) Kurdistan ♦ Georgia (40,000) Operation Anfal (1986-1989) ♦ Genocide campaign against Kurdish people ♦ 4,500 villages destroyed ♦ 1.1 – 2.1 million death: 860,000 widows Greater number of orphans → → Halabja (Halabcheh) Massacre ♦ March 16, 1988: aka.
    [Show full text]
  • Maurice Proulx
    01/10/13 The Clergy and the Origins of Quebec Cinema The Clergy and the Origins of Quebec Cinema: Fathers Albert Tessier and Maurice Proulx par Poirier, Christian A handful of priests were among the first people in Quebec to use a movie camera. They were also among the first to grasp the cultural significance of cinema. Two individuals are particularly significant in this regard: Fathers Albert Tessier and Maurice Proulx. Today they are widely recognized as pioneers of Quebec cinema arts. Since 2000, Quebec cinema has been experiencing renewed popularity. Nevertheless, the key role played by the clergy in the development of a cinematographic and cultural tradition before the Quiet Revolution of the 1960s has not been fully appreciated, even though they managed nothing less than a collective heritage acquisition of cinema during a period dominated by foreign productions. After initially opposing the cinema-considering it an "imported" invention capable of corrupting French-Canadian youth- the clergy gradually began to promote the showing of movies in parish halls, church basements, schools, colleges and convents. It came to see film as yet another tool for conveying Catholic values. Article disponible en français : Clergé et patrimoine cinématographique québécois : les prêtres Albert Tessier et Maurice Proulx A Society on the Threshold between the Traditional Past and the Modern World During the first half of the 20th century, Quebec society underwent a process of gradual change: it became more industrialized, urbanized and economically diverse, while modern ideas such as liberalism or secularism increasingly became accepted as credible alternatives. Nevertheless, for the political and intellectual elite, the values associated with traditions, Catholicism, and rural life were still the of the French-Canadian people's identity.
    [Show full text]
  • Truth in Cinema
    Truth in Cinema http://web.mit.edu/candis/www/callison_truth_cinema.htm Truth in Cinema Comparing Direct Cinema and Cinema Verité Candis Callison Documenting Culture, CMS 917 November 14, 2000 Like most forms of art and media, film reflects the eternal human search for truth. Dziga Vertov was perhaps the first to fully articulate this search in “Man with a Movie Camera.” Many years later he was finally followed by the likes of Jean Rouch, Richard Leacock and Fred Wiseman who, though more provocative and technologically advanced, sought to bring reality and truth to film. Edgar Morin describes it best when, in reference to The Chronicle of a Summer , he said he was trying to get past the “Sunday best” portrayed on newscasts to capture the “authenticity of life as it is lived” 1. Both direct cinema and cinema verité hold this principle in common – as I see it, the proponents of each were trying to lift the veneer that existed between audience and subject or actor. In a mediated space like film, the veneer may never completely vanish, but new techniques such as taking the camera off the tripod, using sync sound that allowed people to speak and be heard, and engaging tools of inquiry despite controversy were and remain giant leaps forward in the quest for filmic truth. Though much about these movements grew directly out of technological developments, they also grew out of the social changes that were taking place in the 1960s. According to documentary historian Erik Barnouw, both direct cinema and cinema verité had a distinct democratizing effect by putting real people in front of the camera and revealing aspects of life never before captured on film.
    [Show full text]
  • Recoding Life; Information and the Biopolitical
    Recoding Life This book addresses the unprecedented convergence between the digital and the corporeal in the life sciences and turns to Foucault’s biopolitics in order to understand how life is being turned into a technological object. It examines a wide range of bioscientific knowledge practices that allow life to be known through codes that can be shared (copied), owned (claimed, and managed) and optimised (remade through codes based on standard language and biotech engineering visions). The book’s approach is captured in the title, which refers to ‘the biopolitical’. The authors argue that through discussions of political theories of sovereignty and related geopolitical conceptions of nature and society, we can understand how crucially important it is that life is constantly unsettling and disrupting the established and familiar ordering of the material world and the related ways of thinking and acting politically. The biopolitical dynamics involved are conceptualised as the ‘metacode of life’, which refers to the shifting configurations of living materiality and the merging of conventional boundaries between the natural and artificial, the living and non-living. The result is a globalising world in which the need for an alternative has become a core part of its political and legal instability, and the authors identify a number of possible alternative platforms to understand life and the living as framed by the ‘metacodes’ of life. This book will appeal to scholars of science and technology studies, as well as scholars of the sociology, philosophy, and anthropology of science, who are seeking to understand social and technical heterogeneity as a characteristic of the life sciences.
    [Show full text]
  • Female Silences, Turkey's Crises
    Female Silences, Turkey’s Crises Female Silences, Turkey’s Crises: Gender, Nation and Past in the New Cinema of Turkey By Özlem Güçlü Female Silences, Turkey’s Crises: Gender, Nation and Past in the New Cinema of Turkey By Özlem Güçlü This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Özlem Güçlü All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9436-2 ISBN (13): 978-1-4438-9436-4 To Serhan Şeşen (1982-2008) and Onur Bayraktar (1979-2010) TABLE OF CONTENTS List of Figures .......................................................................................... viii Acknowledgements ..................................................................................... ix Notes on Translations ................................................................................. xi Introduction ................................................................................................. 1 And Silence Enters the Scene Chapter One ............................................................................................... 30 New Cinema of Turkey and the Novelty of Silence Chapter Two .............................................................................................
    [Show full text]