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Relevant bibliographies by topics / Turkish Cinema

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Dissertations / Theses
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Academic literature on the topic 'Turkish Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 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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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

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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

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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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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 recover

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Rudnev, Kirill Igorevich, and Elena Vadimovna Petrash. "THE PHENOMENON OF THE POPULARITY OF TURKISH TV SERIES AMONG RUSSIAN YOUTH." ITNOU: Information technologies in science, education and management, no. 20 (June 2023): 59–65. http://dx.doi.org/10.47501/itnou.2023.1.59-65.

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The purpose of this study is to identify the degree of influence of Turkish TV series on the youth of Russia and to analyze how the love of the Russian cinema audience for Turkish cinema can affect the policy between Russia and Turkey. The object of the study is directly Turkish cinema and Turkish culture. The subject of the study is the Russian audience represented by the younger generation. As part of the work, a sociological survey was conducted among high school students.

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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 “Sadouli

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İnce, Selami. "Ideological Representation in Turkish Cinema and Turkish Cinema During the AK Party Era." Border Crossing 15, no. 1 (2025): 15–31. https://doi.org/10.33182/bc.v15i1.2903.

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Cinema has long been recognized by governments for its societal influence, and Turkey is no exception. During the early years of the Republic, while all fine arts flourished under state protection, cinema did not receive the same level of support. However, Turkish cinema evolved in line with the Republic's official ideology, emphasizing values such as modernization and secularism. As the government acknowledged cinema's power, it began directing the industry to align with state interests, promoting a "Western" worldview. Following the rise of the Justice and Development Party (AK Party) in 200

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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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Ege, Övünç. "Being Queer in Turkish Cinema: Existence, Appearance, and Representation." CINEJ Cinema Journal 12, no. 1 (2024): 319–59. http://dx.doi.org/10.5195/cinej.2024.603.

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Queer representations in cinema are both influenced by and reflective of local or global cultures. In the context of Turkish cinema, patriarchal Turkish culture often negatively impacts the portrayal of queer identities. These portrayals tend to reflect society’s view of queers rather than illustrating their actual place within society. This study examines the evolution of queer representation in Turkish cinema from its inception to the present, highlighting queer identities and representation issues through the lens of Judith Butler's queer theory.

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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. F

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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

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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 l

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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, 20

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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 anddiasp

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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. https://arro.anglia.ac.uk/id/eprint/702161/1/Langhans_2017.pdf.

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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, 2

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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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3

Deniz, Bayrakdar, Kotaman Asli, and Ugursoy Samav Ahu, eds. Cinema and politics: Turkish cinema and new Europe. Cambridge Scholars, 2009.

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Deniz, Bayrakdar, Kotaman Asli, and Ugursoy Samav Ahu, eds. Cinema and politics: Turkish cinema and new Europe. Cambridge Scholars, 2009.

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Deniz, Bayrakdar, Kotaman Asli, and Ugursoy Samav Ahu, eds. Cinema and politics: Turkish cinema and new Europe. Cambridge Scholars, 2009.

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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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Öz, Seda, and Taner Can, eds. Adaptation in Turkish Literature, Cinema and Media. Springer Nature Switzerland, 2025. https://doi.org/10.1007/978-3-031-74446-4.

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

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9

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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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"

1

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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Örsler, M. Mert, and Colleen Kennedy-Karpat. "Adaptation in the New Turkish Cinema." In The Routledge Companion to Global Literary Adaptation in the Twenty-First Century. Routledge, 2023. http://dx.doi.org/10.4324/9781003038368-25.

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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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Conference papers on the topic "Turkish Cinema"

1

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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"Comparative Analysis of Theses on Hollywood and Turkish Cinema (2019-2023): Trends, Gender Inequalities and Cinematic Focus." In 3rd International Conference on Scientific and Academic Research ICSAR 2023. All Sciences Academy, 2023. http://dx.doi.org/10.59287/as-proceedings.820.

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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 so

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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, esp

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