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Relevant bibliographies by topics / Turkish Cinema / Dissertations / Theses

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Dissertations / Theses on the topic 'Turkish Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Consult the top 21 dissertations / theses for your research on the topic 'Turkish Cinema.'

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

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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12

Germen, Baran. "The Melodramatics of Turkish Modernity: Vurun Kahpeye [Strike the Slut] and its Cinematic Afterlife." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24237.

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Proposing melodrama as an aesthetics of victimhood, my dissertation examines the intermedial itineraries of notable feminist Halide Edib’s Vurun Kahpeye [Strike the Slut]. Originally serialized in 1923 and published as a novella in 1926 in Ottoman Turkish, Vurun Kahpeye was translated into modern day Turkish in 1946. The melodramatic story was then adapted for screen three times in 1949, 1964, and 1973, respectively, by Ömer Lütfi Akad, Orhan Aksoy and Halit Refiğ. With the circulation of these films on TV, the title Vurun Kahpeye has since the 90s morphed into an idiom designating the unjust

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13

Arinc, Cihat. "Postcolonial ghosts in new Turkish cinema : a deconstructive politics of memory in Dervis Zaim's 'The Cyprus Trilogy'." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16081/.

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Postcolonial intercommunal violence on Cyprus and its after-effects have been studied extensively in the social sciences and humanities over the past five decades. However, the cinematic representations of the postcolonial condition in Cyprus have not yet received significant critical recognition. This dissertation is a response to the scarcity of scholarship on cinematic representations of the postcolonial history of the island. By analysing cinematically recreated and visualised ghostly matters of interethnic strife and post-conflict situation in Cyprus, I want to contribute to the current d

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14

Peksel, Öykü. "Women in New Turkish Cinema : An Analysis of “Climates”, “Three Monkeys” and “Once upon a time in Anatolia”." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77651.

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This study investigated the cinematic representations of women in ‘Climates’ ‘Three Monkeys’ and ‘Once upon a time in Anatolia’ created by Nuri Bilge Ceylan. It explored the image of women and the ideologies that affects them in the aforementioned films. For the analysis, semiotics is used and feminist film theory is applied. The findings indicated that the women images are affected by patriarchal ideology. Female characters were portrayed as weak or weakened by men regardless of their representative social group. The results showed similarities to Mulvey’s argument and to Friedan’s definition

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15

Yesildal, Sen Hatice. "Patriarchal Structures And Practices In Turkey: The Case Of Social Realist And National Films Of 1960s." Phd thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/3/12606709/index.pdf.

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This thesis highlights the significance of patriarchal structures and their reproduction in women&rsquo<br>s social position through the feminist perspective. Patriarchy is a dominant structure both on production and reproduction sphere. Patriarchy, which is a dominant structure in every sphere of social life has material basis and controls both women&rsquo<br>s labour and sexuality. With this framework some concepts such as the types of women&rsquo<br>s labour, paid and domestic labour, family, honour, violence and masculinity are used in order to understand patriarchy. Patriarchy is not a fi

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16

Koch, Lars. "‚Eyy Du kommst hir net rein’: Repräsentation, Reflexion und Aneignung von Invektivität im deutsch-türkischen Kino." Dr. Ute Hempen Verlag, 2017. https://tud.qucosa.de/id/qucosa%3A34454.

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17

Erbek, Özge. "Le cinéma turc contemporain à travers les représentations de l'autre et de la différence (1990-2010)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010562.

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La différence et l'altérité reliant les questions de la représentation, de l'identité et de l'idéologie, constituent des concepts opératoires pour une appréhension créative d'un cinéma national en évolution. Située à la croisée des études culturelles et cinématographiques, l'étude se concentre sur le cinéma turc contemporain déterminé de plus en plus par l'affranchissement des seuils de visibilité et de légitimité des sujets marginaux et minoritaires avec de nouveaux thèmes et formes de récit. L'élargissement de l'horizon défini par les conditions de possibilité du secteur, et les changements

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18

Sengul, Ali Fuat 1979. "Cinema, space and nation : the production of Doğu in cinema in Turkey." Thesis, 2012. http://hdl.handle.net/2152/23462.

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From social realism and socialist cinema, to the Turkish 'new wave' and the nascent Kurdish cinema, this dissertation traces the mutual implication of the production of Turkish national space and of Doğu ("The East") as cinematic space. Doğu emerged as part of a discursive formation within the Turkish state's address to eastern Turkey; it entered national cinema as a result of the journey of social realism to the region in the aftermath of the military coup in 1960, which allowed for the bourgeoning of the socialist public sphere and enabled filmmakers to cinematically reflect on the region.

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19

Gueneli, Berna. "Challenging European borders : Fatih Akın's filmic visions of Europe." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3035.

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In my dissertation, I discuss three of Akın’s feature films: Im Juli (In July, 2000), Gegen die Wand (Head-On, 2004), and Auf der anderen Seite (The Edge of Heaven, 2007) in order to investigate Akın’s filmic visions of Europe. Through close textual readings, I analyze three aspects of his films in particular: the spatial conceptions of Europe (city- and landscapes), the sounds of Europe (music and languages) as well as the display of ethnic minorities and the changing urban demography in Germany and Europe. I argue that Akın employs an “aesthetic of heterogeneity” to portray his filmic Europe

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20

Petrtýlová, Katarína. "Zobrazení Tureckého stereotypu v německé kinematografii." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338138.

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This thesis researches the depiction of Turkish stereotypes in German cinematography. Specifically, it investigates gender stereotypes in Turkish family as seen through the lens of German society and represented in German cinematography; this study accentuates the issue of gender stereotypes in Turkish family as most controversial, debated, and potent in terms of shaping the media image of Germany's Turkish community. The thesis covers long films of German production that deal with the issue of Germany's Turkish community. It spans the time period between 1970, when films covering the Turkish

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21

Bélisle-Ostiguy, Michelle. "The Cut by Fatih Akin : a Western?" Thèse, 2016. http://hdl.handle.net/1866/18694.

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C’est après deux opus sur l’immigration turque en Allemagne que le réalisateur turc-allemand Fatih Akin décide d’explorer la période la plus sombre de son pays d’origine. Avec le film The Cut (2014), il clôt la trilogie Liebe, Tod und Teufel. Ce mémoire réfléchit sur l’utilisation du genre Western dans la représentation du génocide arménien. Nous ferons tout d’abord un court historique du genre Western et de la représentation génocidaire au cinéma, pour ensuite analyser le film d’après la notion de genre et voir dans quelle mesure l’utilisation d’un genre connu universellement permet à Fatih A

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