London Kurdish Film Festival

The history of cinema in the Western Kurdistan, or Rojava cannotbe studied separately from the Syrian cinema. In fact, one canclaim that a cinema with distinct features has not yet beendeveloped in Rojava, and one cannot observe signs of intention toward making film with different identities among the directors.What we have is the combination, or t

This year, the Pusan International Film Festival is hosting its first-ever Kurdish Film Programmewith a powerful line-up of films by Kurdish directors and I was asked to write an introductionabout Kurdish cinema for the Programme. Considering the fact that the Kurds have no nation-stateand, as a result, have no unified national cinema – having neit

Despite early developments in the 1920s, what might be argued as Kurdish cinema isa relatively new phenomenon. The aim of this dissertation is to discuss thedevelopment, focus and limitations of this phenomenon from its beginnings in 1927up to the present day.

By Mustafa GündoğduWhile existence in the diaspora has not had purely positive outcomes for the Kurds, it ispossible to argue that they have minimised potential negativities, such as alienation,and that they have developed a harmonious space. One example is the Kurdishcommunity in London and the London Kurdish Film Festival (LKFF, www.lkff.co.uk) i

Within the last few years, “Kurdish cinema” has emerged as a unique discursive subject inTurkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora,Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema asan orienting framework for the production and reception of films by and a