scholarly journals SPACE-MEMORY RELATIONSHIP IN TURKISH CINEMA: THE EXAMPLE OF THE MOVIE “10 TO 11”

2022 ◽  
Vol 2 (1) ◽  
pp. 19-26
Author(s):  
İbrahim Tarkan DOĞAN
Keyword(s):  
Turkish Cinema

Cinematic Search for Identity in the Shade of Turkey’s 1960 Coup: The Social Realism Debate and The Hope

2017 ◽  
Vol 6 (1) ◽  
pp. 153-168
Author(s):  
Celal Hayir ◽  
Ayman Kole
Keyword(s):  
Party System ◽  
Social Realism ◽  
New Era ◽  
Cultural Life ◽  
The Social ◽  
Turkish Cinema ◽  
To Come ◽  
First Time ◽  
Democratic Constitution ◽  
Realism Debate

When the Turkish army seized power on May 27th, 1960, a new democratic constitution was carried into effect. The positive atmosphere created by the 1961 constitution quickly showed its effects on political balances in the parliament and it became difficult for one single party to come into power, which strengthened the multi-party-system. The freedom initiative created by 1961’s constitution had a direct effect on the rise of public opposition. Filmmakers, who generally steered clear from the discussion of social problems and conflicts until 1960, started to produce movies questioning conflicts in political, social and cultural life for the first time and discussions about the “Social Realism” movement in the ensuing films arose in cinematic circles in Turkey. At the same time, the “regional managers” emerged, and movies in line with demands of this system started to be produced. The Hope (Umut), produced by Yılmaz Güney in 1970, rang in a new era in Turkish cinema, because it differed from other movies previously made in its cinematic language, expression, and use of actors and settings. The aim of this study is to mention the reality discussions in Turkish cinema and outline the political facts which initiated this expression leading up to the film Umut (The Hope, directed by Yılmaz Güney), which has been accepted as the most distinctive social realist movie in Turkey. 

scholarly journals Production Design, Art Direction and Dramaturgy in the Turkish Cinema After 1990

2018 ◽  
Vol 7 (1) ◽  
Author(s):  
Serdar Yilmaz
Keyword(s):  
Production Process ◽  
Contemporary Art ◽  
Creative Process ◽  
Construction Process ◽  
Space Design ◽  
Turkish Cinema

The discussion of crucial but long neglected issue of the meaning, function and importance of production design and art direction with regard to movie production process in Turkey constitutes the main essence of this article.  Space design within the creative process of a movie, in other words the construction process of the space in movie making in Turkey will be analyzed in the medium of  certain films and creative –preparatory  process of design, which entails drawings, drafts, and distinct stages of realization as experienced by three contemporary  art directors  and production designers.

scholarly journals Transformation of Comedy with Streaming Services: The Case of Bartu Ben

2020 ◽  
Vol 8 (2) ◽  
pp. 403-425
Author(s):  
Nisa Yıldırım
Keyword(s):  
Television Series ◽  
Original Series ◽  
Turkish Cinema ◽  
Streaming Services ◽  
Streaming Service

Comedy has always been one ofthe most popular genres in Turkish cinema and television series. As the distinction between film and series has begun to blur in the post-television era, narratives are transforming according to the characteristics of the new medium. Streaming services targeting niche audience offer more freedom to creators of their content.Thisarticle aims tostudy the comedy series Bartu Ben (Its me, Bartu)which is one of the original series of Turkish streaming service Blu TV, in orderto interpret the differences ofthe series from traditional television comedies, and contributionof streaming servicesto the transformation of the genre.

Turkish Cinema

2018 ◽  
pp. 269-277
Author(s):  
Ahsen Deniz Morva Kablamacı ◽  
interviewed by Kıvanç Sezer
Keyword(s):  
Turkish Cinema

Space as a Means of Stigma for Women in Turkish Cinema After 2000

2020 ◽  
pp. 94-115
Author(s):  
Meltem Yilmaz Bilecen ◽  
Gökhan Gültekin
Keyword(s):  
Real Life ◽  
Feminist Criticism ◽  
Final Part ◽  
Turkish Cinema ◽  
The Relationship ◽  
Turkish Society

Today, when the Turkish cinema is checked in detail, it is seen that numerous issues are addressed suggesting that when a woman leaves her home where she spends her life with her husband, father, or son, there is a risk of encountering events that will “ruin” her honor. Therefore, when something bad happens to her—raped, lost her way, etc.—she cannot escape from stigma. In fact, the woman in the film transform to a representation that many women who leave the house in real life can be stigmatized. Thus, “honor-woman” connection in the eyes of Turkish society is reproduced through the “space-man” relationship. In order to introduce the purpose of the study, firstly, some information on the relationship among woman, space and stigma was given, then we made explanations on how the stigmatization issue of women in Turkish cinema from the beginning to the 2000s became effective. In the final part of the study which is the application phase, thoughts on women, place and stigma were presented through the film Mutluluk (2007) with the help of feminist criticism.

Women as film directors in Turkish cinema

2016 ◽  
Vol 24 (4) ◽  
pp. 321-335 ◽  
Author(s):  
Hulya Uğur Tanrıöver
Keyword(s):  
Public Funding ◽  
Women Directors ◽  
The Public ◽  
Secondary Sources ◽  
Participation Of Women ◽  
Film Directors ◽  
Turkish Cinema ◽  
Feminist Film ◽  
Film Productions ◽  
The Public Sphere

Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginning of the 2000s the number of women directors has increased significantly, reaching a number well above that of the entire period before. This article investigates the reasons behind this increase based on quantitative data gathered from secondary sources and in-depth interviews with women producers and directors. It also questions whether and to what extent the increase in the number of women film directors contributed to the production of ‘women’s films’, based on a qualitative analysis of films produced by women directors between the years 2004 and 2013. The results show that in addition to technological and aesthetic changes in the industry, the increase in the availability of international and national public funding for low-budget independent film productions and the enlargement of the women’s movement allowed more women directors to enter the film industry. While half of the films made by women directors in the 2000s could be qualified as ‘women films’, the other half remained, largely due to market forces, within the conventions of popular or art house cinema.

Sign in / Sign up

Export Citation Format

Share Document