Overview of the Gay Characters in the New Cinema of Turkey

Similar to the worldwide perceptions, gay characters in Turkish cinema are mostly perceived and used as elements of humor and comedy. They are also used as standards for measuring the masculinity of other male characters in some Turkish movies. And what about Today? What are the differences between the past and now? It is possible to say that Turkish cinema in 2000s involve more visible sexual identities apart from heteronormative understanding. This study will focus on the reflections and portrayals of only gay characters in New Turkish cinema.

THE NEW AND THE OLD IN THE FILM INDUSTRY: CINEMA, TECHNOLOGY AND NEO-VIEWERS. AN ANTHROPOLOGICAL LOOK AT THE NEW CINEMA.

Since its invention, the cinema art and industry has drawn a lot of attention from people of all sectors. It is nowadays a mass phenomenon reaching a very large audience, which has increased even more due to the proliferation of screens resulting from technological advances. As a result, going to the movie theatre has become simply an option among others. This investigation searches into what motivates the current spectator to watch films and the way in which cinema interacts with the viewer, projecting the cinematographic arts beyond the screen. In short, the research characterises the current spectator within the values and the context around him and uses an anthropological methodology to describe how the new spectator lives the cinema and the way in which the old structures and the new ones interact in our hyperconnected world. The main objective of the research is to approach generally the concept of film viewer in our times.

From Taiwan New Cinema to Post-New Cinema: The Transition of Identity in Cape No. 7 and the Naming Issue of Post-New Cinema

In 2008, Taiwan’s cinema began to get back on its feet after an extended lull, with several directors successively releasing critically acclaimed first works. Compared with the well-known Taiwan New Cinema, this new film trend works within the conventions of genre and often focuses on local issues and ordinary life. In doing so, critics and scholars call it Post-New Cinema. Yet, its naming brings difficulties to our understanding on this epoch-making wave, since it neither intends to innovate the paradigm and the framework established by New Cinema, nor does it completely inherit the legacy left by it. Therefore, these uncertain interpretations motivate us to review the legitimacy of this naming. This essay will evaluate firstly the genealogy from the Taiwan New Cinema to the Post-New Cinema in aesthetic and historical–cultural representation, to further propose the paradox about the naming of Post-New Cinema. Secondly, we attempted, by comparing the two most representative films of the two periods, Cape No. 7 and A City of Sadness, an initial look at the transition and the transformation in terms of aesthetical demonstration, historical representation, and ethnic politics, to argue that a subtle change in identity has been created in Taiwanese cinema since 2008.

“giro historiográfico” en los estudios sobre el cine

En este estado de la cuestión se hace una comparación entre el desarrollo de la historiografía del cine anglonórdica versus la historiografía del cine en Latinoamérica. En la primera parte del trabajo se abordan los debates que cuestionan las metodologías, los enfoques y los resultados de la historiografía del cine anglosajona y que culminan con la publicación de The Routledge companion to new cinema history (Biltereyst, Maltby, y Meers 2019). La segunda parte está dedicada a revisar el desarrollo de la historiografía del cine en Latinoamérica hasta la aparición del texto Tradición y modernidad en el cine de América Latina (Paranaguá 2003) y su influencia en los estudios e investigaciones de la región. Seguidamente se presentan algunos trabajos que dan una idea de los diversos caminos y líneas de investigación en boga dentro de la más reciente historiografía del cine en Latinoamérica.