This study focuses on how female characters are represented in the films of contemporary female directors in Turkey. In this study, the films of female directors Yeşim Ustaoğlu, Pelin Esmer, Ahu Öztürk, and Emine Emel Balcı are examined in the context of women’s cinema and feminist film reading. In this study, the films Tereddüt (“Clair-Obscur,” 2016), Gözetleme Kulesi (“Watchtower,” 2012), Toz Bezi (“Dust Cloth,” 2015), and Nefesim Kesilene Kadar (“Until I Lose My Breath,” 2015) are discussed using sociological film analysis. Unlike mainstream films, the female characters in the narratives of these films do not succeed even when they engage in a struggle for liberation. The female characters are imprisoned in the masculine ideology and find their salvation in relation to being with a man.
In recent post-Yugoslav cinema, trope of troubled youth in films as diverse as Skinning (Stevan Filipović, 2010, Serbia), Children of Sarajevo (Aida Begić, 2012, Bosnia-Herzegovina), Spots (Aldo Tardozzi, 2011, Croatia) and Quit Staring at My Plate (Hana Jušić, 2017) allows for an inspection of the links between youth rebellion, post-conflict trauma and social class. These cinematic depictions of youth-in-crisis, which I refer to as transitional films, offer insights into locally produced ethno-national identities as challenged by the proliferating transnational networks of connectivity. In this essay, I highlight one provocative example of transitional film – Clip (Maja Miloš, 2012, Serbia).
From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per-year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country.
The paper investigates the living and working conditions of textile workers in the city of Štip, Macedonia. The textile industry was highly developed during socialist times, but underwent a process of decline after the Yugoslav break-up. While it still represents a relevant economic sector for post-socialist Macedonia, the textile industry is highly dependent on outsourced orders from Western Europe. Local workers’ living and labour conditions, therefore, are affected by the global ‘race to the bottom’ for production costs that is typical of the garment industry. On the basis of a series of interviews conducted in Skopje and Štip with workers and factory owners, the article argues that contemporary working conditions in the Macedonian textile industry are characterised by poor labour rights, gender discrimination and widespread precarity.