Islam goes Hollywood. An exploratory study on Islam in Turkish cinema

Bruijn, Petra de

doi:10.5195/cinej.2012.51

Cited by 2 publications

(9 citation statements)

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“…The renewed influence of Islam on public life and politics in the 1960s made film production under the theme of Islam profitable. As a protest Western-oriented films, educated and left-leaning Islamic producers intend to make authentic Turkish films (Bruijn 2012). These developments occur on both sides of the political spectrum.…”

Section: Film Development and Depiction Of Religion In Turkish Filmmentioning

confidence: 99%

The Practice of Secularism in Religious Cencorship in Turkish Film (1939-1990)

Aditama

Rachmanti

Soekarba

2019

IRHS

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This paper analyzes a film as one of the media with the ability to convey certain messages to the public. Films can reflect the social and cultural conditions of society, thereby they can be used to spread the current ideas, views, and ideologies of a country. Films in Turkey are part of a culture that has developed rapidly and has become an entertainment for the people. Mustafa Kemal Atatürk reformed and turned Turkey into a new country with the ideology of secularism, controlling religious institutions and expressions. This journal article aims to describe the implementation of Turkish secular ideology in the country's cultural settings, namely censorship of religious elements in Turkish films from 1939 to 1990. The method used in this article is critical descriptive through literature study. This article concludes that censorship is not only practiced to maintain secularism in Turkey, but also to protect the religion itself.

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Section: Film Development and Depiction Of Religion In Turkish Filmmentioning

confidence: 99%

The Practice of Secularism in Religious Cencorship in Turkish Film (1939-1990)

Aditama

Rachmanti

Soekarba

2019

IRHS

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“…"The word milli for 'national' is a loanword from Arabic and therefore associated with conservative nationalistic circles in Turkey; the Turkish word ulusal is the word for 'national' used by Kemalists." [6] Indeed, future efforts to label the national cinema 'Islamic Cinema', 'Green Cinema' or 'White Cinema' did not only not contribute to its creation at all, but also resulted in the 'quality' problem of the cinema becoming even more neglected.…”

Section: Intersecting Paths Of Religious and Secular Directorsmentioning

confidence: 99%

“…He provokes people to punish her by stoning (known as 'recm' and used as a form of execution in some Islamic countries) "on the pretext that she spent the night with a man outside wedlock. Her tragic death at the end of the film results in hatred for the imam" [6] (and, thus, the old traditions he represents).…”

Section: Secular Outlook Of the Young Republicmentioning

confidence: 99%

“…When his neighbor reports him to the police saying that he conducts illegal reactionary activities, he is arrested and put into prison, as such activities are considered to be part of a political movement aiming to overthrow the government and introduce Sharia law. However, this was considered such a sensitive 6 Female students and women were not allowed to enter universities, military hospitals and facilities such as cafeterias, and to work in the public sector covering their heads. Moreover, people who had graduated from Imam Hatip High Schools offering religious education were not allowed to enter military academies.…”

Section: The Rise Of the Right Wing National (Milli) Cinemamentioning

confidence: 99%

“…The developments and trends in world cinema paved the way for new perceptions and pursuits in the Turkish cinema which, at that time, far from being an artistic form, sustained its existence as a commercial product, namely, as theatre recorded on celluloid films ( [6], pp. [21][22] 2 .…”

Section: Intersecting Paths Of Religious and Secular Directorsmentioning

confidence: 99%

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From Clichés to Mysticism: Evolution of Religious Motives in Turkish Cinema

Önal

2014

Religions

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Abstract:As an art form, an academic discipline and an ideological instrument that finds a place in cultural studies and social sciences, film plays a significant role both in the creation and as a reflection of the culture in which it is produced and sustained. Within the relationship between religion and the cinema in the Turkish context, religion has ironically become an ideological discourse contrasting with the Islamic attitude prohibiting human depiction. This paper seeks to examine the transformation of both religious and secularist clichés and stereotypes in the Turkish cinema, by means of ideological and sociological critiques of some sample films.

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Islam goes Hollywood. An exploratory study on Islam in Turkish cinema

Abstract: Abstract

Cited by 2 publications

References 0 publications

The Practice of Secularism in Religious Cencorship in Turkish Film (1939-1990)

The Practice of Secularism in Religious Cencorship in Turkish Film (1939-1990)

From Clichés to Mysticism: Evolution of Religious Motives in Turkish Cinema

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