Configuration of Kurdish cinema between national and transnational cinema approaches

Articles in Press

Document Type : Original Article

Authors

1 Art Studies Department, Faculty of High Studies of Art and Entrepreneurship, Art University of Isfahan, Isfahan, Iran

2 Assistant Professor, Department of Photography, Faculty of Visual Arts, Art University of Isfahan, Isfahan, Iran

10.22034/scart.2026.141770.1573

Abstract

Kurdish Cinema is a relatively new phenomenon that has sparked considerable controversy among researchers due to its unique characteristics. These include an uncertain geographical context, a lack of concentrated production centers, an obscure historical background, excessive diversity in themes and styles, and radical political and social influences. Such complexities have led some scholars to question the very origins of Kurdish Cinema. As a result, various formulations and interpretations of this cinematic movement have emerged, often conflicting with one another. The two primary research currents focus on the National and the Transnational Cinema approach. A fundamental question arises: which of these frameworks is more suitable for understanding Kurdish Cinema? Importantly, these two approaches are not necessarily mutually exclusive. To explore this question, the present article first identifies the research literature surrounding these approaches and their defining characteristics. A comparative analysis reveals that the transnational cinema approach offers more advantages than its counterpart. To substantiate this claim and affirm the authenticity of Kurdish Cinema through the transnational lens, various aspects are evaluated using a combination of Deborah Shaw's Deconstructing and Reconstructing interpretation and Higbee and Lim's critical Transnationalism. This research is classified as developmental in purpose and employs descriptive-analytical and comparative methods.

Keywords

Sociology of Culture and Art

Articles in Press, Accepted Manuscript
Available Online from 23 June 2026

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