Special Issue, May 2016
Contents
Türkiye Sineması, bir ulusal veya sosyal kategorinin ürünü olan bir sinemadan ziyade, Türkiye’deki kimlik çeşitliliğinin, kültürel farklılıklarının yer bulduğu bir temsil alanının ismidir. Elbette her toplum, her ulus, sinema ve medyanın aracılığı ile kendi içinde bir takım öğeler yaratır. Bu değişken bir süreçtir. Türkiye Sineması’nın değişkenliği, ülkenin her dönemi için geçerli, doğru ve evrensel bir tanımın imkânsızlığına...
Özde ÇELİKTEMEL-THOMEN: Children and Women: An Observatıon on Cinema During the Late Ottoman Era (Turkish)ABSTRACT. Children and Women: An Observation on Cinema During the Late Ottoman Era is an attempt to understand and explain the discourses and practices of Ottoman dominant class (bureaucrats, elite, and intellectuals) over children and women spectators regarding cinema and film screening venues. This work does not encapsulate the total cinema history during the late Ottoman era. However, it focuses on a number of important archival documents that portray the concerns of "immorality" in films, such as obscenity, violence, ...
Özge ÖZYILMAZ: Transition to Sound Cinema in Turkey (Turkish)ABSTRACT. This article concentrates on the transition to sound cinema in Turkey. The research first focuses on the use of sound in the silent cinema period by explaining how the sound-on-disc and sound-on-film screenings first began in Turkey. It then explores the problems and debates that were triggered with the emergence of sound cinema during 30s, and examines the efforts of cinema professionals and audiences of the period to overcome these newly emergent problems. Finally, this article embarks upon examining the reception of this transformation by the intellectuals...
Tolga YALUR: Men on the Bridge: The Crazy Dumrul Complex and Tragical Condition in the Cinema of New Turkey (Turkish)ABSTRACT. This study takes a number of popular films from the New Cinema of Turkey as references to investigate a dominant psychosocial condition in Turkishness. Based on the myth of Crazy Dumrul that represents the transition from Turkish-Paganism to Turkish-Islam where Dumrul faces the angel of death, this study looks through a subject’s conscience in the eye of the “Law”, which in Dumrul’s case restrains access to “truth” while he is trapped between two worlds: Earth and the hereafter, material and spiritual. This is conceptualized as ...
Özgür ÇİÇEK: Kurdish Cinema: Imprisonment and Representation (Turkish)ABSTRACT. The notion of Kurdish cinema emerged in the 2000s during when directors like Bahman Ghobadi and Hineer Salem have been occupying a significant space at international film festivals; and since then it has been arousing a significant interest with the rising number of Kurdish directors and consequently Kurdish fiction and documentary films. In this article Kurdish cinema produced in Turkey is thoroughly analysed, and taking Yılmaz Güney as the milestone for the formation of Kurdish cinema it is argued that Kurdish cinema can be defined as a cinema of imprisonme...
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