Kurdish directors' approaches in cinema

Cinema, no doubt both aesthetically and financially, contains many components. Today, cinema has gone beyond the formal approach and financial pattern of 125 years ago and has had to assimilate the reality of the day and the form of capitalism. The Kurds, who were outside the nation-state process at the beginning of the twentieth century and who tried to be integrated into the states they were connected to by citizenship law, became more late than other nations. The opening of the cinema halls in the regions where the Kurds live intensively in the beginning of the 20th century is almost half a century. If we did not count the few individual examples, the Kurdish representation of Kurds was not possible until the emergence of Yılmaz Güney. Güney has also made films with the aesthetics of documentary films such as Third World filmmakers. Financially, he remained within the degenerate relations of Yeşilçam. In the 2000s, Kurdish filmmakers began to shoot with the influence of Yılmaz Güney. They received support from film funds and filmed in the countries where they live. In this period, formal approaches are also noteworthy. In this thesis, Turkey Huseyin Karabey and Kazim Oz, Bahman Ghobadi from Iran, from Iraq's Hiner Saleem and Şevket Emin Korkî'nin a movie's were discussed. These films were examined in an aesthetic and financial context. Their similarities and differences were investigated. Cultural and social conditions of Kurdish directors are very important in film making. Like directors living in other countries. However, the situation of Kurds is somewhat different in terms of politics. Therefore, this situation may change in the near future.