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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
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Texts and contexts in the Kebab Show theatre troupe
Annedith Schneider

to workers from Turkey, as well as organising social events and assistance with French bureaucracy. When a 1981 law finally permitted non-citizens to form their own associations, the immigrants themselves took an active role in running the organisation. While ASTTu continued to provide academic support for the children of immigrants and to organise cultural events of Turkish cinema, music and dance, by 2010 the mission of the organisation was no longer centred on concerns of workers. Reflecting the changing composition of the community, many of whom had been born

in Turkish immigration, art and narratives of home in France
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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)