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Kuyululu returned to live in Sweden in the late 1970s and early 1980s, where she directed and performed in Royal
Swedish Opera productions. She returned to Australia in 1985, where she worked in the Australian People's Theatre and formed a Turkish amateur theatre group with her son. In 1989 she wrote
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in Sydney, but
Kuyululu was unable to find a distributor. One of the challenges was that the film's backers required that the dialogue be in English, which led it to seem inauthentic. Danks notes that the film has been "consistently marginalised and often forgotten about in accounts of Australian
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in 1930. As a young woman she was an actress and opera singer, and wrote radio plays. In the mid-1960s she moved to
Stockholm, together with her husband Ilhan Kuyululu and their three children. While living in Stockholm she directed a television drama film called
297:, recorded that at the time of her death she was "almost completely forgotten by the mainstream arts world". Historian Sue Hardisty notes that her two films stand out in the "overwhelmingly Anglo-Celtic" environment of 1970s Australian film.
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over forty years previously. Kuyululu's husband produced the film and played a starring role. It was supported by a $ 20,000 grant from the Film and
Television Board, and included footage shot in Istanbul.
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about the challenges of a
Turkish couple who meet in Sydney. She had received a grant from the Experimental Film Fund to support the work. The film was a finalist in the Greater Union Awards at the 1974
141:; 30 August 1930 – 31 May 2019) was a Turkish-Australian film director, actress, opera singer and screenwriter. She was the first woman to direct a feature film in Australia since 1933 with
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and has been described by academic Adrian Danks as receiving a "generally positive reception" that supported her subsequent production of
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Credits
Rolling! Selected Papers from the 12th Biennial Conference of the Film and History Association of Australia and New Zealand
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to take over as the proposed director, while she wrote the screenplay. She was however unsuccessful in getting the film made.
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The family moved to
Australia in 1971. After initially working as a department store clerk, Kuyululu joined the chorus of
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about the lives of migrants in Sweden, and wrote the screenplay for a 1963 Turkish film called
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as part of a program focusing on migrant women directors in
Australia in the 1970s and 1980s.
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Hardistry, Sue (2004). "The Work of Ayten
Kuyululu in Seventies Australia".
519:"The Golden Cage: Ayten Kuyululu and Australian Cinema – Senses of Cinema"
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film history"; it was screened only rarely, including occasionally on
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485:"Coming to Australia: Women Filmmakers and the migrant experience"
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In 1974 she wrote, directed and starred in the 40-minute film
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282:Suçlu mu Piyon mu? (Is he Guilty or is he a Pawn?)
402:. National Film and Sound Archive of Australia
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355:"The Forgotten Pioneer of Australian Cinema"
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456:"Nightingale out of a golden cage"
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648:20th-century Australian actresses
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547:. Canberra: NFSA. p. 86.
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426:Türk Sineması Araştırmaları
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460:The Sydney Morning Herald
177:. She also sang with the
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396:"The Golden Cage (1975)"
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265:Battle of Broken Hill
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151:Early life and career
603:People from Istanbul
304:was screened by the
275:Later life and death
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179:Royal Swedish Opera
422:"İki Kocalı Kadın"
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62:(2019-05-31)
35:Ayten Ürkmez
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598:2019 deaths
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462:. p. 7
170: [
76:Occupations
70:, Australia
60:31 May 2019
587:Categories
316:References
259:Following
41:1930-08-30
202:Homicide
157:Istanbul
147:(1975).
119:Children
51:, Turkey
49:Istanbul
84:actress
138:Ürkmez
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111:Spouse
68:Sydney
495:1 May
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432:2 May
406:1 May
365:1 May
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566:IMDb
530:2024
497:2023
489:ACMI
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