I think this is very interesting since in the past there has been a general sense that working in television is often seen as something "lesser than" working in the film industry. However, I feel like in the US today, the production value, in particular the directing skills, in television has increased incredibly (with major shows like Game of Thrones and Breaking Bad). Thus, major Hollywood directors have actually begun to move in the opposite direction as described in the article and go from films to TV. I wonder if this trend will also seep into Turkey's film and TV culture? If it did then perhaps this career path for women (moving from tv to film) may change with it.

I'm curious here who exactly they consider to be "directors of Turkish cinema." In particular, I wonder whether there existed female directors who worked on much smaller and more independent films over these years? Is there some sort of criteria that needs to me followed to be considered a "director of Turkish cinema"?

Kemalism: Alternatively known as Ataturkism, as it was implemented by Mustafa Kemal Ataturk as the founding ideology of the Republic of Turkey. Kemalism sought to separate the new Turkish state from the previous Ottoman Empire and embrace westernization, supporting democracy, secularism, and state support of science and free education.

Sectarianism: excessive attachment to a particular sect or party, especially in religion. Here we can see that there existed a constant tension between religions in Lebanon. This animosity between groups based on their religious beliefs sparked not only the Civil War, but also fueled further turmoil and led to a "thirst of violence [overcoming] some Lebanese people."

This connection to psychoanalytic theory is particularly interesting as it appears that Lebanese cinema both brings the city's trauma to the foreground, but also does not fully confront the depths of the trauma. As said in the page previously, "Lebanese cinema also sometimes hides the realities of wartime...by presenting the war as a shared condition while shying away from representing the society's inherent fragmentation." Thus, while Lebanese cinema may initiate the city's "healing" process, it does not always follow through on completing it.

Textuality: the quality or use of language characteristic of written works as opposed to spoken usage.

The use of this word suggests that Farrokhzad's sexuality seeped into the language and phrasing she used in her poetry, giving it a unique and distinct quality.

This distinction between "feminine" and "feminist" is particularly interesting here. While femininity was a major trait in Farrokhzad's poetry from the start, the shift to "feminist" implies a more active stance that Farrokhzad took with her writing. I wonder what prompted her to take a more active role in Rebellion?

Given the fact that much of Farrokhzad's poetry was so overtly against the patriarchal Iranian society she currently lived in, I wondered the extent to which she received backlash for her poetry? Did she ever have to deal with censorship issues or major opponents to her artistic expression?

I'm a little unclear as to what Gordon means by "a post-monarchical social contract." Is he referring to the idea that after getting rid of the monarchy, the government and citizens can now "get along" and work together, as they do in the film Haya aw Mawt, to accomplish a greater good?

It is clear from the article that at this time, a director casting himself as a major role in his film was fairly uncommon; but, I wondered if this practice ever increased in popularity? Today in Hollywood we see so many actors-turned-directors casting themselves as leading roles in their films that it no longer is viewed as out of the ordinary in America. Did this ever become the case in Egyptian cinema?

Neorealism: Characterized by a general atmosphere of authenticity. André Bazin, a French film theorist and critic, argued that neorealism portrays: truth, naturalness, authenticity, and is a cinema of duration. The necessary characteristics of neo-realism in film include: 1) a definite social context; 2)a sense of historical actuality and immediacy; 3)political commitment to progressive social change; 4)authentic on-location shooting as opposed to the artificial studio; 5)a rejection of classical Hollywood acting styles; 6)extensive use of non-professional actors as much as possible; 7)a documentary style of cinematography.

I was initially unsure of Gordon's use of the term "neorealist" as it applies to film and contrasts with the concept of realism, but, after researching the topic, realized that it represented a type of film that finds that conflict arises from flaws in the bigger systems at hand. This is in contrast to realism, which determines that conflict arises from flaws in human nature.