This essay analyzes Atabay, a groundbreaking film in Iranian cinema created by Hadi Hejazifar, an Azerbaijani screenwriter and actor from Khoy. Through the story of Atabay and his nephew Aydın, the film explores themes of homeland, identity, linguistic oppression, generational trauma, and the illusion of love. The narrative highlights the sociocultural struggles of Azerbaijani Turks, including discrimination, loss of cultural heritage, and the drying of Lake Urmia. Symbolic elements—such as Atabay chasing an empty plastic bag “up and down the hills to no avail” and the repeated mispronunciation of “Aydın”—underscore the film’s critique of cultural alienation. The essay further examines the film’s cinematography, use of Azerbaijani architecture and folklore, and its portrayal of paradoxes within modern Azerbaijani identity. Ultimately, it argues that Atabay is a post‑modern realist work rooted in national consciousness, reflecting both the beauty and the tragedy of a homeland under pressure.
Ahmadoghlu,A . (2026). THE SCREEN WRITER'S HOMELAND LOVE. Studies on Azerbaijan and Turk's History
Azərbaycan və Türk tarixi araşdırmaları, 1(10), 88-97.
MLA
Ahmadoghlu,A . "THE SCREEN WRITER'S HOMELAND LOVE", Studies on Azerbaijan and Turk's History
Azərbaycan və Türk tarixi araşdırmaları, 1, 10, 2026, 88-97.
HARVARD
Ahmadoghlu A. (2026). 'THE SCREEN WRITER'S HOMELAND LOVE', Studies on Azerbaijan and Turk's History
Azərbaycan və Türk tarixi araşdırmaları, 1(10), pp. 88-97.
CHICAGO
A Ahmadoghlu, "THE SCREEN WRITER'S HOMELAND LOVE," Studies on Azerbaijan and Turk's History
Azərbaycan və Türk tarixi araşdırmaları, 1 10 (2026): 88-97,
VANCOUVER
Ahmadoghlu A. THE SCREEN WRITER'S HOMELAND LOVE. Studies on Azerbaijan and Turk's History
Azərbaycan və Türk tarixi araşdırmaları. 2026;1(10):88-97 (In Persian).
