Home(land)s and Nostalgia in Victim Cinema in Turkey

Aktay, Azat
This thesis mainly looks at the representation of the relationship between belonging and social classes in the victim cinema in the context of displaced Kurds. In general, Kurds are generally considered as a monolithic and homogeneous nation in the literature, and the class dimension is ignored. In addition, it is assumed that the Kurds have a single identity as a homeland. In this direction, this thesis problematizes where the Kurds, who are included in different social classes, feel a sense of belonging in the victim cinema, how they relate to their homeland, and the representation of this form of relationship. In this direction, the concepts of social capital and cultural capital were used to determine the class positions of the characters in the victim cinema. Afterward, the concept of nostalgia was used to determine what the characters regards as a homeland in these films, that is, where they feel belonging. After the conceptual framework was created, the films included in the victim cinema were determined and the nostalgia scenes in these films were analyzed. As a result, it has been concluded that social and cultural capital is effective in the existence of different forms of belonging in the victim cinema. Also, the representation of the lower classes in the victim cinema as being unable to take action in the struggle against the sovereign and therefore having completely lost the position of being a political subject means a significant break from the cinema tradition and political position of Yılmaz Güney.
Citation Formats
A. Aktay, “Home(land)s and Nostalgia in Victim Cinema in Turkey,” M.S. - Master of Science, Middle East Technical University, 2023.