By Gonul Donmez-Colin
ISBN-10: 1861892209
ISBN-13: 9781861892201
This can be the 1st e-book to envision the bothered relationships among girls, Islam and cinema. movie critic and writer G?n?l D?nmez-Colin explores the position of ladies as spectators, pictures and picture constructors within the cinemas of the nations the place Islam is the main faith, targeting Iran and Turkey from the center East, drawing parallels from Kazakhstan and Uzbekistan, the 2 crucial Asian Republics of the previous Soviet Union, and Pakistan, Bangladesh, Malaysia and Indonesia, the prominently Muslim Asian nations with a demanding movie undefined. the various suitable movies made in India by means of and for Muslim Indians also are explored.D?nmez-Colin examines regular cinematic archetypes, together with the na?ve kingdom woman who's deceived and dishonored, or the devious seductress who destroys the sanctity of marriage, and appears good at arguable parts resembling display rape, which, feminist movie critics declare, caters to male voyeurism. She additionally discusses routine issues, corresponding to the myths of femininity, the endorsement of polygamy and the obsession with male young ones, in addition to the most typical stereotypes, depicting ladies as moms, better halves and daughters.Given the range of cultures, instead of viewing nationwide cinemas as points of a unmarried improvement, the writer makes a speciality of person histories, traditions and social and fiscal situations as issues of reference, that are tested within the context of social and political evolution and the prestige of girls inside Islam.Women, Islam and Cinema is a much-needed and well timed paintings that may attract the curious reader in addition to to the coed of movie. (20050101)
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Example text
It is precisely this quality – this insuperable orthodoxy – that does not allow him to look at his surroundings with a sober eye. Instead, a certain selfsatisfaction . . colours his view. It acquires a tone of elevated romanticism, an almost ingratiating sweetness. All of this, essentially, points to absolute indifference. A Moslem is always indifferent to women . . So why should he not be indifferent to his representation of them? 6 Despite such a pessimistic outlook about the representations of women, conscientious filmmakers with earnest socio-political concerns have existed transnationally.
After seven years and long jail sentences, when everyone assumes him dead, Seyyit returns to claim his bride just as she is about to wed the village headman, Hamdi Bey. Keje is ready to run away with Seyyit but when her brother reminds her that the honour of the family is in her hands, she sends Seyyit away. As the men dance and shoot their rifles into the air to celebrate the wedding, Hamdi Bey makes insidious plans to mend his hurt pride. He buries Keje’s body in the ground and covers her head with a basket, challenging Seyyit to a marksmanship contest.
New Iranian cinema (discussed in Chapter 5) reflects in a realistic fashion women’s present place in that country. In Central Asia, cinema, along with other aspects of society, also had to be recreated after independence. In Uzbekistan, where traditions and religion play a strong role, Yusuf Razikov, a prominent filmmaker entered the film industry making light comedies to reflect on social, moral and psychological issues. His first film, Voiz / Orator (1999), is a gentle satire on the battle of the sexes, layered with subtle nuances about totalitarian regimes.
Women, Islam and Cinema (LOCATIONS) by Gonul Donmez-Colin
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