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Relevant bibliographies by topics / Turkish Cinema

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Academic literature on the topic 'Turkish Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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Journal articles on the topic "Turkish Cinema"

1

Raw, L. "Turkish Cinema: Identity, Distance and Belonging * Turkish Cinema." Screen 50, no. 3 (2009): 361–64. http://dx.doi.org/10.1093/screen/hjp024.

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Kılıçbay, Barış. "Turkish-German Cinema Reconsidered." Third Text 28, no. 6 (2014): 507–16. http://dx.doi.org/10.1080/09528822.2014.970770.

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Suner, F. Asuman. "Nostalgia for an Imaginary Home: Memory, Space, and Identity in the New Turkish Cinema." New Perspectives on Turkey 27 (2002): 61–76. http://dx.doi.org/10.1017/s0896634600003800.

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Since the mid-1990s we have been witnessing the emergence of a “new Turkish cinema.” A number of young directors, among them Zeki Demirkubuz, Derviş Zaim, Yeşim Ustaoğlu, Serdar Akar, and Nuri Bilge Ceyhan, made their first feature films during this period and have proved to be quite prolific since then. Acclaimed by critics in Turkey and abroad, recent Turkish films have received invitations from major international festivals and have won prestigious awards. The new Turkish cinema has also generated its own brand of audience. While Turkish films had largely disappeared from theaters for most of the 1980s due to severe economic adversities in the film industry, local viewers had, in any case, distanced themselves from Turkish cinema on the grounds of its presumed “banality,” the term “Turkish film” having become almost synonymous with “bad taste” for a decade prior to the arrival of the new Turkish cinema. Since the 1990s, however, Turkish films have once again begun to attract audiences to theaters, signaling that the long lost reputation of Turkish cinema may have been restored.

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Akser, Murat, and Didem Durak-Akser. "Fight for a National Cinema: An Introductory Text and Translation (Halit Refiğ, 1971)." Film Studies 16, no. 1 (2017): 56–77. http://dx.doi.org/10.7227/fs.16.0005.

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Halit Refiğ had impact on debates around Turkish national cinema both as a thinker and as a practitioner. Instrumental in establishing the Turkish Film Institute under MSU along with his director colleagues like Metin Erksan and Lutfi Akad, Refiğ lectured for many years at the first cinema training department. This translation is from his 1971 collection of articles titled Ulusal Sinema Kavgasi (Fight For National Cinema). Here Refiğ elaborates on the concept of national cinema from cultural perspectives framing Turkey as a continuation of Ottoman Empire and its culture distinct and different from western ideas of capitalism, bourgeoisie art and Marxism. For Refiğ, Turkish cinema should be reflected as an extension of traditional Turkish arts. Refiğ explores the potential to form a national cinema through dialogue,and dialectic within Turkish traditional arts and against western cinematic traditions of representation.

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Raw, L. "New Turkish Cinema: Belonging, Identity and Memory * Cinema and Politics: Turkish Cinema and the New Europe * Cinema at the Periphery." Screen 51, no. 4 (2010): 451–56. http://dx.doi.org/10.1093/screen/hjq040.

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Göktürk, Deniz. "Turkish-German Traffic in Cinema: A Critical Review." New Perspectives on Turkey 29 (2003): 229–43. http://dx.doi.org/10.1017/s089663460000618x.

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The Turkish-German axis is not the first route that comes to mind when rethinking German cinema in a global perspective. Turks in German cinema have tended to be cast in one-dimensional roles, as victims on the margins of society, unable to communicate and integrate. After more than four decades of Turkish presence in Germany, can we finally observe a new trend in representation, focusing more on playful enactments, mutual mirroring, and border-crossings? In an era of increasing global mobility of people and media, questions about the status of transnational cultural productions by travelers, emigrants, and exiles have achieved a new intensity. Film critics, concomitantly, have begun to call for a new genre category, one which explodes the boundaries of “original” national cultures as well as those of cinematic conventions. This new genre is variously labeled “independent transnational cinema,” (Naficy, 1996) “postcolonial hybrid films” (Shohat and Stam, 1994) or simply “world cinema,” (Roberts, 1998) a descriptor which, in contrast to older separatist categories such as “third world cinema” (Pines and Willemen, 1989) or “sub-state cinema” (Crofts, 1998), stresses the universality of mobility and diversity.

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Güngör, Arif Can. "From Past To Present A Cognitive Work On “New Turkish Cinema”." CINEJ Cinema Journal 4, no. 1 (2015): 122–53. http://dx.doi.org/10.5195/cinej.2014.121.

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In recent years, “new” concept has become very consumable especially within the context of politics in our country. Generally, after certain periods in Turkey, “new”, representative of political changes and emphasizing reconstruction process, has been a concept that frequently used in paralel with political, social, economic and cultural use, from past to present. Turkish cinema has had many periods from its constructive years to present; some of which have been in diffuculties and crisises. Having been overcome after every crisis, Turkish Cinema has always recovered itself. After this recovery, process to be rising or expected to be shown up, has wanted to be emphasised by the characterisation of the “new” concept, needed to be created or created different structure. New Cinema concept is considered as a genre as not possible to mention a real stream in the Turkish cinema. The search of the young directors for an alternative cinema language, experiencing types, using various production and filming styles have revealed a richness in development of our cinema. In this essay, New Cinema concept will be introduced in terms of its usage and meanings attributed to it in Turkish cinema. Moreover, its place and importance in Turkish cinema history will be discussed.

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SÖNMEZ SÜVEYDAN, Merve. "CLOTHING FASHION IN TURKISH CINEMA." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE 2, no. 4 (2015): 121. http://dx.doi.org/10.17365/tmd.201549624.

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Yildirim, Tunç. "Transmission et historiographie du cinéma : l’influence de Georges Sadoul sur Nijat Özön, pionnier marxiste de l’histoire turque du cinéma." Canadian Journal of Film Studies 30, no. 1 (2021): 72–98. http://dx.doi.org/10.3138/cjfs-2020-0005.

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Nijat Özön (1927–2010) is considered to be the “pioneer” of cinema historiography in Turkey with the publication of his first work dedicated to Turkish cinema in 1962. In fact, his History of Turkish Cinema from Yesterday to Today: 1896–1960 was an attempt to write the history of cinema by focusing on its artistic aspects as well as on its industrial aspects. From his preliminary articles published in the 1950s, the author set out to analyze the situation of Turkish cinema from an economic, industrial, and institutional perspective and not only from an aesthetic point of view. Did the “Sadoulian model” of the history of cinema play a key role in the approach and practice of this Turkish cinema specialist? The aim of this article is to study the impact of Georges Sadoul's Marxist vision and his documentation methodology had on the historical discourse of his Turkish colleague. The article merges two theoretical concepts (comparative approach and the historiographical operation) to highlight the social milieu to which Özön belongs, the practices he uses as an historian and the intellectual influences he undergoes in his writing work.

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Coşkun, Çiçek. "Sociology in cinema: Origins of social types in Turkish cinema." International Journal of Social Sciences and Education Research 3, no. 4 (2017): 1147–54. http://dx.doi.org/10.24289/ijsser.312662.

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Dissertations / Theses on the topic "Turkish Cinema"

1

Kaftan, Eylem. "Identity in crisis Turkish cinema post 1980 /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ59178.pdf.

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Atakav, Atil. "The representation of women in Turkish cinema in the 1980s." Thesis, Southampton Solent University, 2009. http://ssudl.solent.ac.uk/774/.

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This thesis examines the relationship between feminism and cinema in the context of the women's movement and women's films of the 1980s. In focusing on the nature and implications of the representation of women constructed in Turkish cinema and the issues addressed by the women's movement, it argues that there are connections to be made on an analytical and theoretical level between the two sets of practices. The thesis argues that the enforced depoliticisation introduced after the coup (on 12th September 1980) by the incoming military government is responsible for uniting feminism and film. First, the feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on women's issues and lives in order to avoid the overtly political. Secondly, women's films of the 1980s do not merely reflect a unitary patriarchal logic but are also sites of power relations and political processes through which gender hierarchies are both created and contested. The films of the 1980s empower women by dealing with women's issues and representing them as strong characters; however, at the same time they marginalise and objectify women with their cinematic style. turkish cinema reveals powerful cross-currents producing complex and often contradictory effects, acting both to reinforce and to mitigate against the manifestations of male dominance in different narratives and contexts. However despite these complexities, gender asymmetry in Turkish society is produced, represented and reproduced through filmic texts. There has been very little scholarly work done on the representation of women in Turkish cinema in the 1980s. The existing resources not onlylack focus on the shifts in the representation of women within socio-political context, but also fail to make a strong link between feminism and cinema. Moreover, in resources under scrutiny there is no sustained focus on mise-en-scene. The aim of this thesis is to fill this gap and explain the changes in the cultural, the social and the political, while linking feminism and cinema by examining films using close textual analysis.

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Yalvac, Ahsen. "A cultural critique of Turkish cinema in relation to "Arabesk"." Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23272909.

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Tuncer, Selda. "The Destruction Of A City Myth In Late Modern Turkish Cinema." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/12606019/index.pdf.

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The thesis attempts at providing a critical evaluation of the city as the mythological site of modernity. For that purpose, highlighting such special nature of the urban context as it finds expression by the cinematic medium, what is aimed at is the analysis of, first, the mythical dimensions of modern urban life as the prime site of enthusiasm and spirit with its fleeting impressions and changing images, secondly, the (re)creation of the city myth through cinema as an elaborate perceptive vehicle for a specific way of picturing and enframing the cityscape and, lastly the representation of the destruction of such myth. In this way, it will also be possible to point out concretely that the city experience of the modern individual simultaneously embodies fascination and horror, hope and despair. In order to explain the situation of the modern individual in the big city, Odysseus&rsquo<br>s encounter with mythological forces in ancient world are taken as a parable in the footsteps of Adorno and Horkheimer&rsquo<br>s allegoric interpretation of Homer&rsquo<br>s Odyssey. Specifically speaking, the cinematic representation of Istanbul-myth and the destruction of this myth in Turkish cinema of the nineties will be examined through three prominent examples in the light of the above theoretical considerations.

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Gurata, Ahmed. "Imitation of life : cross-cultural reception and remakes in Turkish cinema." Thesis, Birkbeck (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400577.

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Tunc, Ayca. "Diasporic cinema : Turkish-German filmakers with particular emphasis on generational differences." Thesis, Royal Holloway, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538775.

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Ozdil, Yilmaz. "La construction visuelle des identités kurdes : cinema turc, cinéma kurde." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030165.

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Dans les quatre pays dominant le Kurdistan, (Turquie, Iran, Irak et Syrie), la question kurde se traduit avant tout sous forme de visibilité/ invisibilité, autour de la question de la reconnaissance des Kurdes en tant que Nation déniée. Notamment en Turquie, le premier des pays à avoir imposé aux Kurdes son modèle d'Etat-Nation, cette question renvoie aux politiques négationnistes étatiques menées contre la culture et l'identité kurdes, considérées dès 1924, comme des obstacles au processus de création d'une identité nationale turque. Dans ce rapport conflictuel entre le nationalisme turc et le nationalisme kurde, également fruit d'une mémorisation traumatique et d'une longue histoire de résistance kurde dans chaque partie du Kurdistan, l'imaginaire des Kurdes renvoie а une dimension historique devenue spontanément une référence essentielle du traitement cinématographique de la « kurdicité », sous forme d’interaction construite par les Kurdes eux-mêmes ou créée par leurs adversaires politiques.Notre thèse s'efforce de montrer cette influence durable du nationalisme sur le traitement cinématographique de la « kurdicité », principalement dans le cinéma turc traitant les Kurdes sans les designer en tant que Kurdes, puis dans le cinéma kurde au service de la « cause kurde » après les années 1990<br>In the four countries dominating Kurdistan (Turkey, Iran, Iraq and Syria) the Kurdish question translates first and foremost under the concept of visibility/invisibility, around the problem of the recognition of the Kurds as a denied nation. This is especially apparent in the case of Turkey, the first of the countries which imposed its own nation-state on the Kurds : this question is associated with the negationist state policies on Kurdish culture and identity,which, since 1924, have been considered as obstacles on the path to the creation of a nationalTurkish identity. In this conflictual relation between Kurdish and Turkish nationalisms – the fruit, among others, of a traumatic memory and a long history of Kurdish resistance inrespective sections of Kurdistan – the imagery of the Kurds refers to a historical dimensionwhich has spontaneously become an essential reference of cinematographic treatment of« Kurdishness » under the form of interactions constructed by themselves or by their own political opponents. The present thesis aims at describing that permanent influence of nationalism on the cinematographic treatment of « Kurdishness » in the Turkish cinema which principally treats the Kurds without designating them as Kurds, then in the Kurdish cinema in the service of « Kurdish cause » following the 1990s

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Langhans, Christina. "Where is home? : cultural hybridity and the quest for belonging in Turkish-German cinema." Thesis, Anglia Ruskin University, 2017. http://arro.anglia.ac.uk/702161/.

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This study examines the cinematic portrayal of the interrelationship between the concepts of home and cultural hybridity within contemporary processes of migration in Thomas Arslan’s Brothers and Sisters (1997), Dealer (1999), A Fine Day (2001) and Ferien (2007) as prime examples of Turkish-German cinema. It argues that cultural hybridity offers the potential to construct new spaces of home apart from demarcating, essentialist polarities. While integrating critical discourse analysis and literary analysis of post-colonial (Said, 1978; Bhabha, 1994), transcultural (Welsch, 1999, 2010; Antor, 2010, Werbner, 2015), sociological (Castells, 1997; Gellner, 2006), and film theories (Deleuze, 1986; Elsaesser, 1999; 2015; Hickethier, 2001), this study consists of two stages. Firstly, it explores concepts of culture, cultural hybridity, home, and collective memory in order to provide a theoretical and conceptual framework for the film analysis and, subsequently, it contextualises Arslan’s oeuvre through the analysis of Turkish-German cinema. Finally, it explores the cinematic techniques used in four consecutive films by Arslan in order to examine the interdependence between these apparent antipodes: home and cultural hybridity. My study demonstrates that the concept of home in a cultural hybrid context must be re-evaluated. The rigid understanding that the concept of home feeds on exclusionary polarities can no longer withstand in today’s society that is marked by ever-increasing boundary-crossings and cultural hybridity. At a time in which increased migratory streams to Europe coincide with the flourishing of nationalistic movements throughout Europe it is essential to recognise the processual and transformative qualities of culture and home that questions habitual constants, such as cultural identity and memory, and refutes primordial givens and cultural categorising in order to pave the way to new spaces of home.

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Naiboglu, Gozde. "Beyond representation : the ethics and aesthetics of change in Turkish German cinema after Reunification." Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.634928.

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This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.

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Arslan, Savas. "Hollywood alla Turca: A history of popular cinema in Turkey." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133214001.

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Books on the topic "Turkish Cinema"

1

Woodhead, Christine. Turkish Cinema, An introduction. School of Oriental Antiquities, 1989.

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Mencutekin, Mustafa. Ideology in Turkish cinema. Blue Dome Press, 2014.

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Naiboglu, Gozde. Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8.

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4

The city in Turkish cinema. Libra Kitapcılık ve Yayıncılık Ticaret Ltd. Şti., 2014.

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5

1966-, Kayi Kerem, ed. Turkish cinema 1970-2007: A bibliography and analysis. P. Lang, 2008.

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The Turkish cinema in the early republican years. Isis Press, 2007.

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ʹ, Aga h. O. zgu c. A chronological history of the Turkish cinema 1914-88. Ministry of Culture and Tourism, 1988.

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Women and Turkish cinema: Gender politics, cultural identity and representation. Routledge, 2012.

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Turkish German cinema in the new millennium: Sites, sounds, and screens. Berghahn Books, 2012.

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Thwaites Diken, Ebru. The Spectacle of Politics and Religion in the Contemporary Turkish Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71700-5.

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Book chapters on the topic "Turkish Cinema"

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Kablamacı, Ahsen Deniz Morva, and interviewed by Kıvanç Sezer. "Turkish Cinema." In Authoritarianism and Resistance in Turkey. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76705-5_26.

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Önal, Hülya. "Gangsters in Turkish Cinema." In A Companion to the Gangster Film. John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119041757.ch14.

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Mutlu, Dilek Kaya. "Film Censorship during the Golden Era of Turkish Cinema." In Silencing Cinema. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_9.

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Akser, Murat. "Locating Turkish Cinema Between Populist Tendencies and Art Cinema." In The Palgrave Handbook of Asian Cinema. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_8.

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Halle, Randall. "The Europeanization of Turkish-German Cinema: Complex Connectivity and Imaginative Communities." In Turkish-German Studies. V&R unipress, 2016. http://dx.doi.org/10.14220/9783737005517.15.

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Naiboglu, Gozde. "Introduction." In Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8_1.

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Naiboglu, Gozde. "Conclusion." In Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8_10.

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Naiboglu, Gozde. "Thomas Arslan’s Berlin Trilogy." In Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8_2.

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Naiboglu, Gozde. "Christian Petzold’s Jerichow (2009)." In Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8_3.

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Naiboglu, Gozde. "Documentary and the Question of Representation." In Post-Unification Turkish German Cinema. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64431-8_4.

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Conference papers on the topic "Turkish Cinema"

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Ozgur, Ozlem. "FATHER FIGURE IN TURKISH CINEMA." In 33rd International Academic Conference, Vienna. International Institute of Social and Economic Sciences, 2017. http://dx.doi.org/10.20472/iac.2017.33.054.

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"Single-Screen Cinema to Multiplex: The Cinema going Experience of Turkish and Russian Societies." In International Conference on Research in Humanities and Social Sciences. Acavent, 2018. http://dx.doi.org/10.33422/icrhs.2018.12.02.

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Bayrak Kök, Sabahat, and Esvet Mert. "Construction of Social Value in Entrepreneurship: Social Entrepreneurship." In International Conference on Eurasian Economies. Eurasian Economists Association, 2016. http://dx.doi.org/10.36880/c07.01514.

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We believe that income divide among countries due to globalization, growing poorness and increasing unemployment aroused a necessity for social values to create on economical base. In this context arising economical and social issues bring some new responsibilities upon international institutions, governments, NGO’s, and firms. Social entrepreneurship concept is among these responsibilities. This concept is particularly important for firms that are placed in intersection of private and third sector and other institutions adopting market-based methods. Social entrepreneurism that focusing on social missions affect all the decisions how to capture and evaluate opportunities in all the dimensions of life. Social entrepreneurs who are motivated by social bearings rather than solely making profits are present in social and cultural aspects of life in addition to presence in the market. In this study social entrepreneurism producing more economic and social value than its traditional counterpart is about to be examined in Turkish context with two awarded cases. First is SineMASAL (Cine-Tale) social entrepreneurship that aims to embrace all the rural kids with artistic fields including the cinema. This entrepreneurship particularly aims to provide country kids who have limited access to social and economical life with some opportunities that would help them to have a better future, at least to support them having a positive attitude towards potentialities. Another one is the e-Hastam (My e-Patient) entrepreneurship that matches physicians and patients on virtual platform where everybody could benefit from actual health information and activities.

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Demir, Selin Kiraz. "Change of Public Sphere and Forms of Communication with Virtual Reality: The Case of Vtime From Turkey." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.017.

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Today, the development of technology has brought about the creation of new environments in the field of communication. In this context, it can be said that virtual technologies have started to be used in many areas from education to health, from sports to cinema. Virtual reality is a process in which the real and the unreal are fictionalized and brought together through virtually created place. In the virtual reality environment, it can be said that individuals experience the feeling of being there. In this context, virtual reality platforms, which can make the sense of reality feel close, especially in situations where physical proximity is not possible, is one of the important steps in the field of communication. This study aims to investigate the effects of technology in the field of communication by realizing a communication experience via vTime, a virtual reality platform created by a UK-based team. In this direction, the potential of virtual reality environments to create a public sphere is one of the points emphasized by the research. In the study, 5 Turkish people who were brought together on the vTime virtual reality platform were included in a conversation with virtual reality tools. These people were asked questions about their instantaneous experiences in the virtual reality environment and their thoughts on this technology by interview method. By analyzing the answers given, the possibilities of using virtual reality platforms as a communication tool today and in the near future were tried to be revealed.

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