In the mid-1990s Turkish cinema experienced a remarkable revival. However, what is particularly unusual about this revival is the emergence of a new representational form: silent, inaudible characters. Equally unusual is the fact that this new on-screen silence had a gender(ed/ing) aspect, since, for the most part, the mute(d) characters were female. This book focuses on these newly emergent silent female characters in the new cinema of Turkey, and explores the relationship between the ‘new’ female representational form, the ‘new’ cinema of Turkey, and the ‘new’ socio-political climate in Turkey after the September 12, 1980 military coup. It investigates two central questions: what are the functions, formations and operations of these silent female characters, and why did this female representational form emerge specifically in this timeframe? Bearing a cinematic function of instrumentality and exposing, one way or another, a close association between point of view and discursive authority in the films studied, the silent female representational form in the new cinema of Turkey is a cinematic symptom of the on-going struggle over the disrupted orders of gender, nation and national memory due to an increase in thus-far silenced or marginalized voices in Turkey. The silent form not only functions as a cinematic instrument to reveal crises in hegemonic power positions, but also becomes a battleground within a struggle for (re)obtaining a position of discursive authority in the realms of gender, nation and past. The silent form in itself becomes an instrument on the discursive level, which enables a response to Turkey’s crises in these three interconnected realms in the post-1980s.

"In the mid-1990s Turkish cinema experienced a remarkable revival. However, what is particularly unusual about this revival is the emergence of a new representational form: silent, inaudible characters. Equally unusual is the fact that this new on-screen silence had a gender(ed/ing) aspect, since, for the most part, the mute(d) characters were female. This book focuses on these newly emergent silent female characters in the new cinema of Turkey, and explores the relationship between the 'new' female representational form, the 'new' cinema of Turkey, and the 'new' socio-political climate in Turkey after the September 12, 1980 military coup. It investigates two central questions: what are the functions, formations and operations of these silent female characters, and why did this female representational form emerge specifically in this timeframe? Bearing a cinematic function of instrumentality and exposing, one way or another, a close association between point of view and discursive authority in the films studied, the silent female representational form in the new cinema of Turkey is a cinematic symptom of the on-going struggle over the disrupted orders of gender, nation and national memory due to an increase in thus-far silenced or marginalized voices in Turkey. The silent form not only functions as a cinematic instrument to reveal crises in hegemonic power positions, but also becomes a battleground within a struggle for (re)obtaining a position of discursive authority in the realms of gender, nation and past. The silent form in itself becomes an instrument on the discursive level, which enables a response to Turkey's crises in these three interconnected realms in the post-1980s."

This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women's film-making. Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema's approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women's interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of 'deterritorialized' film-makers negotiating loyalties to both vatan (motherland) and the adopted country. This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.

This book provides a critically informed account of the Turkey-born France-based director Deniz Gamze Ergüven’s debut film Mustang (2015), which tells the story of five orphaned sisters living with their grandmother and uncle in a remote Turkish village. The film’s familiar art-house style, and its universalising focus on female coming-of-age and feminist dissent, resulted in celebratory reviews from journalists and scholars of world cinema. Meanwhile, Mustang’s framing of youth in the Turkish national context, and its representation of gender, divided Turkish film critics and cultural theorists. These divisions led to a debate that questions the politics of transnational feminism by criticising the film’s failure to capture the local intricacies of the politics of gender and youth. While this book aims to locate Mustang within the intersection of emerging female and youth narratives in the cinema of Turkey, it also provides a critical understanding of the differences in Mustang’s local and global reception. This focus on the geopolitics of representation informs the diverse criteria this study uses to evaluate Ergüven’s stylistic choices. Engaging with both Anglophone and Turkish literature in youth cinema and gender studies, the book makes an original contribution to current debates on national/transnational cinemas and gender/youth studies and is an accessible reference for graduate and undergraduate study of contemporary film. Elif Akçalı is Associate Professor in Film and TV Studies at Kadir Has University, Turkey. Her research focuses on film aesthetics, videographic criticism, non-fiction film, and gender/sexuality studies.

The landscape of Turkey, with its trees and animals inspires narratives of survival, struggle and escape. Animals, Plants, and Landscapes: An Ecology of Turkish Literature and Film, will be the first major study to offer fresh theoretical insight into this landscape, by offering a collection of analyses of key texts of Turkish literature and cinema. Through discussion of both classical and contemporary works, this volume, paves the way for the formation of a ecocritical canon in Turkish literature and the rise of certain themes that are unique to Turkish experience. Snakes, fishermen and fish who catch men, porcupines contemplating on human agency, dogs exiled on an island and men who put dogs to fights, goat herders and windy steppes of Anatolia are all agents in a territory that constantly shifts. The essays included in this volume demonstrate the ways in which the crystallized relations between human and non-human form, break, and transform.

Executive Summary: This special report highlights the concerns raised by Commissioner for Human Rights of the Council of Europe, Dunja Mijatović, Flags Non-Implementation of Judgments from ECHR, Venice Commission, and Turkish Constitutional Court as Serious Threat to Rule of Law, Public Trust and Constitutional Order. Commissioner issued a comprehensive Memorandum on March 5, 2024, assessing the state of freedom of expression, media, and human rights defenders in Turkey calling for urgent measures to address these challenges, emphasizing alignment with international human rights standards.

From 2016 to 2023, in the midst of the human rights crisis, numerous individuals fell victim to grief, stress, and illness. As of November 2023, we have documented 952 casualties attributed to the state of emergency (OHAL) and decree laws (KHK), which include 90 children. This encompasses suspicious deaths in prisons, those who took their own lives, and those who lost their lives while trying to flee Turkey across the Meric and Aegean, encountering denial to return to their home countries. The numerous state-sanctioned human rights abuses in Turkey are too extensive to enumerate. AST engages in a range of activities, from organizing conferences and panels to writing reports submitted to relevant organizations and committees. Collaborating with other organizations is crucial for sharing causes, learning from others' stories, and amplifying our own narratives. In response to the pandemic and global crises, AST has adapted its strategies, incorporating virtual protests, panels, and written works, including reports and books. Survivor interviews are shared through books, providing a platform for the voices of those persecuted. AST encourages people to write letters to decision-makers and focuses on youth empowerment, recognizing the significant role young advocates play. Collaboration between youth and adults is essential in all aspects of our activities, including the use of art and music to advocate for human rights. In 2024, AST remains committed to being the voice of the voiceless, defending fundamental rights, educating and motivating human rights advocates, urging leaders to prioritize human rights, and convening groups for collaborative action. Let us unite in the fight against violence, inequality, and injustice. Through solidarity and political unity, we can amplify our strength, break down prejudices, and work towards a world free from violence and injustice. Thank you for being part of this crucial cause. AST GIVES A VOICE TO THE VOICELESS The Advocates of Silenced Turkey (AST) are committed to combating human rights abuses and injustices within Turkey. AST consists not only of legal experts but also includes relatives of political prisoners and victims who have faced job loss, property confiscation, and the loss of family members under the current oppressive administration. AST actively participates in various human rights initiatives, which encompass the creation of reports submitted to relevant committees, councils, and entities. AST organizes conferences, documents all forms of violence and injustice experienced by the Turkish people, arranges exhibitions, produces documentaries, and hosts art competitions. Committed to advancing democracy and human rights in Turkey, AST is dedicated to expanding its efforts in raising awareness and advocating for the cause.