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An Introductory Text and Translation (Halit Refiğ, 1971)
Murat Akser and Didem Durak-Akser

Halit Refiğ had impact on debates around Turkish national cinema both as a thinker and as a practitioner. Instrumental in establishing the Turkish Film Institute under MSU along with his director colleagues like Metin Erksan and Lutfi Akad, Refiğ lectured for many years at the first cinema training department. This translation is from his 1971 collection of articles titled Ulusal Sinema Kavgasi (Fight For National Cinema). Here Refiğ elaborates on the concept of national cinema from cultural perspectives framing Turkey as a continuation of Ottoman Empire and its culture distinct and different from western ideas of capitalism, bourgeoisie art and Marxism. For Refiğ, Turkish cinema should be reflected as an extension of traditional Turkish arts. Refiğ explores the potential to form a national cinema through dialogue,and dialectic within Turkish traditional arts and against western cinematic traditions of representation.

Film Studies
Abstract only
Andrew Dix

the US. Assess, then, the extent to which Hollywood constitutes a national cinema, comparable, say, to Egyptian or Swedish or Turkish cinemas. Beyond Hollywood: two examples Reinforcing Yoshimoto’s point above about the pre-eminence of Hollywood in the study of film industries, Stephen Crofts writes, with pointed understatement, that ‘Film scholars’ mental maps of world film production are often less than global’ ( 2006 : 53). Periodically, it is true, certain non-Anglophone cinemas have been taken up in Britain and the United

in Beginning film studies (second edition)