Her resistance is many

The accented filmmaking practice of Mizgin Müjde Arslan

Bibliographic Data

ID12690443
AuthorsPınar Fontini (0000-0003-1030-617X, The University of Melbourne, Melbourne, 3010 Australia, corresponding author)
Year2022
Volume23
Issue5
Pages2269-2285
Publication date2022-03-08
Open AccessNo
TypeARTICLE
VenueFeminist Media Studies (JOURNAL)
Journal identifiersISSN: 1468-0777 • E-ISSN: 1471-5902
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.1080/14680777.2022.2048046
OpenAlexW4220933273
LanguageEN
Citations received1
References cited18

This paper aims to understand the “accented” documentary practice of Mizgin Müjde Arslan, a contemporary Kurdish female filmmaker who was born in Turkey but lives in diaspora. I will discuss her filmmaking through the features of accented cinema, developed by Hamid Naficy and furthered by Asuman Suner. These features are multi-perspectivity, liminality, being the subject and the storyteller simultaneously, deconstructing the borders, replacing the history with a new memory, and cyclicity. As Naficy’s model lacks the gender dimension in its imagery of nation, identity and belonging, I will discuss his model from a broader perspective by adapting Suner’s approach, adding the gender dimension into my discussions. For this purpose, I will use the principles of “accented feminism”, a term I develop within the paper and draw the concept of “accented feminist cinema” from

Aesthetics · Art · Diaspora · Dimension (graph theory · Feminism · Film director · Filmmaking · Liminality · Media studies · Movie theater · Perspective (graphical · Resistance (ecology · Sociology · Visual arts · Cinema and Media Studies · Gender Studies · Historical Gender and Feminism Studies · Turkey's Politics and Society

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