Log in

Relevant bibliographies by topics / Turkish Cinema / Journal articles

To see the other types of publications on this topic, follow the link: Turkish Cinema.

Journal articles on the topic 'Turkish Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Turkish Cinema.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Uysal, Yıldırım. "THE REPRODUCTION OF UPPER CLASS: A TRY OF CLASS CRITIQUE TO 'ÇOĞUNLUK' FILM." Motif Akademi Halk Bilimi Dergisi 18, no. 50 (2025): 1042–67. https://doi.org/10.12981/mahder.1570343.

Full text

Abstract:

The line of social realism in Turkish cinema is a trend that can be observed in examples from the early 1960s to the late 1980s. This genre of cinema, which places social issues at the center of its language and facilitates their discussion in the minds of viewers, lost its momentum toward the end of the 1980s. However, by the late 2000s, examples of this trend began to re-emerge in Turkish cinema. One of the most significant aspects of the film Çoğunluk (Majority), which we consider part of Turkish cinema's social realism tradition, is its effort to analyze Turkish society from a class-based

APA, Harvard, Vancouver, ISO, and other styles

13

Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 1 (2012): 1–2. http://dx.doi.org/10.5195/cinej.2012.59.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

MELTEM, TEKEREK. "CINEMA IN TURKISH-SOVIET RELATIONS IN THE ATATURK PERIOD." History and Modern Perspectives 2, no. 1 (2020): 31–37. http://dx.doi.org/10.33693/2658-4654-2020-2-1-31-37.

Full text

Abstract:

Cinema had been found at the end of the 19th century. The first cinema shows in the Ottoman Empire and the Russian Empire had been held in 1896. Since the beginning of the 20th century, cinema, which was an effective tool in propaganda, had some experiences until the end of the First World War. After the war, developments in international relations brought Turkey and Soviet Russia closer together. Thus, good relations that started in 1919 will have been continued for a long time. During this period, cinema was used by the Bolsheviks in Russia about realizing the objectives of the regime, and t

APA, Harvard, Vancouver, ISO, and other styles

15

KOLUAÇIK, İHSAN, and AZİME CANTAŞ. "TÜRK SİNEMASINDA “HACI BEKTAŞ VELİ” TEMSİLLERİ." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (June 20, 2023): 127–46. http://dx.doi.org/10.34189/hbv.106.007.

Full text

Abstract:

Hacı Bektaş Veli is one of the most important names of Turkish Islam. Various sources and groups paint different and completely opposite Hacı Bektaş portraits. While some describe Hacı Bektaş as a Sunni mystic, others consider him a representative of heterodox Islam. In addition, there are those who turn Hacı Bektaş into a purely political figure and show him as a symbol of resistance that stands by the working people against injustices. It is possible to come across cultural references and representations of this belief in cinema as a mass art. In this direction, the study aims to reveal the

APA, Harvard, Vancouver, ISO, and other styles

16

Çiçek, Özgür. "The fictive archive." Alphaville: Journal of Film and Screen Media, no. 1 (August 17, 2011): 58–75. http://dx.doi.org/10.33178/alpha.1.05.

Full text

Abstract:

In this paper, I consider the potentials and theoretical interpretations of Kurdish Cinema produced in Turkey. I evaluate the dynamics of the emergence of a state-less Kurdish cinema, which produces films in spite of the existence of Turkish National cinema and an oppressive Turkish national identity. Using Hayden White’s formulations on narrative and history and Gilles Deleuze’s theories on minority filmmaking and the time-image, I argue that the conception of time in Kurdish Cinema exceeds the time of the narrative and carries an archival potential for the unrepresented history of Kurdish li

APA, Harvard, Vancouver, ISO, and other styles

17

KARABAĞ, Müge. "Türk Sinemasinda Toplumsal Gerçekçi Filmlerde İstanbul Temsili: Acı Hayat ve Banker Bilo Filmleri Örneği." Journal of Social Research and Behavioral Sciences 8, no. 16 (2022): 93–107. http://dx.doi.org/10.52096/jsrbs.8.16.6.

Full text

Abstract:

In this study, it has been tried to explain how and with which variables Istanbul is represented in the films within the scope of the social realist cinema movement in Turkey by analyzing the selected sample films. In this context, in the study, first of all, the social realism movement in Turkish cinema was mentioned and the films shot in line with this movement were briefly mentioned. In the study, the representations of Istanbul in Yeşilçam films were mentioned and the films selected as samples were examined by text analysis method. Sample films are films that are evaluated within the scope

APA, Harvard, Vancouver, ISO, and other styles

18

Yılmazata, Mehmet, and Erdem Güven. "Güneş Ne Zaman Doğacak?: A different approach from the perspective of Turkish cinematic art." CINEJ Cinema Journal 10, no. 1 (2022): 273–313. http://dx.doi.org/10.5195/cinej.2022.525.

Full text

Abstract:

Discussing the debate and ideological background regarding national cinema, this form of art shall be compared to several other contemporary cinematic currents in Turkey. In this study, a content analysis comprising one of the rarer examples of national cinema, the film "Güneş Ne Zaman Doğacak?" (Mehmet Kılıç, 1977) will be conducted while scanning secondary sources on Turkish cinema to present a concise picture; of the phenomenon that is known as 'national cinema.' Distinctive characteristics of the artistic language and the ideological background of the post-1960 Turkish cinema will be provi

APA, Harvard, Vancouver, ISO, and other styles

19

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.

Full text

Abstract:

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,

APA, Harvard, Vancouver, ISO, and other styles

20

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Gürkan, Hasan. "Transnational Life: Where’d I Be Happy? A Research on the Films of Immigrant Directors From Turkey Living in Austria." CINEJ Cinema Journal 6, no. 2 (2018): 6–31. http://dx.doi.org/10.5195/cinej.2017.159.

Full text

Abstract:

This study aims to analyse the representation of different cultural notions in Turkish-Austrian Migrant Cinema. This study is based on migrant problem, hybrid identities and national values, taking Austria as a sample. Turkish-Austrian migrant films include multiculturalism, Turkish national values and Turkish national cinema narrative by keeping optimism and hope. The sampling of this study consists of films by Umut Dağ and Hüseyin Tabak. The films by both of these directors focus on traditional values of Turkish culture, the reflection of these values on Austria and cover the features of imm

APA, Harvard, Vancouver, ISO, and other styles

22

Sarıkaya, Tugay, and Aybike Serttaş. "Breaking the Power Dynamics Behind the Scenes of Turkish Cinema: A Head-count Research." CINEJ Cinema Journal 13, no. 1 (2025): 29–66. https://doi.org/10.5195/cinej.2025.638.

Full text

Abstract:

In this research, gender representation and equity in the Turkish cinema industry are investigated through a comprehensive analysis of the top 99 films based on ticket sales, utilizing data from Box Office Turkey. Drawing upon Foucault's concepts of power dynamics and discourse, Althusser's notion of ideological state apparatuses, and Laura Mulvey’s concept of the “male gaze,” the research compiles and categorizes the set crews of these films based on roles such as director, producer, and art director. By examining the gender composition of set crews across various departments, the study aims

APA, Harvard, Vancouver, ISO, and other styles

23

KÖKSAL, Selma. "PIONEERING EXPERIMENTAL PROTAGONISTS IN TURKISH CINEMA." Journal of Academic Social Sciences 147, no. 147 (2023): 28–42. http://dx.doi.org/10.29228/asos.73131.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Smets, Kevin. "Turkish Cinema: identity, distance and belonging." Historical Journal of Film, Radio and Television 29, no. 3 (2009): 407–9. http://dx.doi.org/10.1080/01439680903122156.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Köksal, Selma. "Pioneering "Experimental Heroes" of Turkish Cinema." CINEJ Cinema Journal 11, no. 2 (2023): 177–99. http://dx.doi.org/10.5195/cinej.2023.548.

Full text

Abstract:

While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayu

APA, Harvard, Vancouver, ISO, and other styles

26

Suner, Asuman. "Between magnificence and monstrosity: Turkishness in recent popular cinema." New Perspectives on Turkey 45 (2011): 123–54. http://dx.doi.org/10.1017/s0896634600001333.

Full text

Abstract:

AbstractThis paper studies the idea of Turkishness as one thematic element that commonly characterizes recent Turkish box-office champions. The preoccupation with the idea of Turkishness in recent popular cinema can be seen as a reflection of Turkish society's bafflement with the process of rapid and intensive transformation during the 2000s. In this period, Turkish society has grown increasingly confused about how to assess its own worth in the contemporary world. The paper makes use of the terms “magnificence” and “monstrosity” to make sense of the excessive representations of Turkishness in

APA, Harvard, Vancouver, ISO, and other styles

27

Özkantar, Mustafa Özer. "Bereavement And Melancholy in Cinema: A Comparative Review Between Turkish and American Cinemas." Gaziantep University Journal of Social Sciences 23, no. 2 (2024): 437–50. http://dx.doi.org/10.21547/jss.1382137.

Full text

Abstract:

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understandi

APA, Harvard, Vancouver, ISO, and other styles

28

Bayrak, Bengisu. "Editorial." CINEJ Cinema Journal 6, no. 1 (2017): 1–3. http://dx.doi.org/10.5195/cinej.2017.173.

Full text

Abstract:

This issue of CINEJ focuses on a variety of topics: Animated documentary, political cinema, female sexuality, religion, mythology and culture, orientalism, globalization and action movies, Halit Refiğ and Turkish cinema.

APA, Harvard, Vancouver, ISO, and other styles

29

Koçer, Suncem. "KURDISH CINEMA AS A TRANSNATIONAL DISCOURSE GENRE: CINEMATIC VISIBILITY, CULTURAL RESILIENCE, AND POLITICAL AGENCY." International Journal of Middle East Studies 46, no. 3 (2014): 473–88. http://dx.doi.org/10.1017/s0020743814000555.

Full text

Abstract:

AbstractWithin the last few years, “Kurdish cinema” has emerged as a unique discursive subject in Turkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora, Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema as an orienting framework for the production and reception of films by and about Kurds. In this article, my argument is threefold. First, Kurdish cinema has emerged as a national cinema in transnational space. Second, like all media texts, Kurdish films are nationalized in discourse. Third, the communicative strat

APA, Harvard, Vancouver, ISO, and other styles

30

Özen, Fatma. "Changes in Women’s Representations in Turkish Cinema from the 1980s to the Early 1990s." CINEJ Cinema Journal 9, no. 2 (2021): 286–320. http://dx.doi.org/10.5195/cinej.2021.450.

Full text

Abstract:

This article focuses on the representations of women alongside the social and historical background of Turkish cinema from the 1980s through the early 1990s. In the following section, I articulate the political events in the 1980s - the early1990s and its impacts on Turkish society and cinema. I delve into the modernist representations of women in the 1980s cinema to analyze women’s gender codes (based on social/cultural and cinematic codes). Finally, in the last section, I examine Atıf Yılmaz’s cinematic images of women in his films and analyze two of his films A Sip of Love (1984) and The Ni

APA, Harvard, Vancouver, ISO, and other styles

31

Özdemir, Burcu Dabak. "Postfeminism à la Turca." Journal of Middle East Women's Studies 17, no. 2 (2021): 177–96. http://dx.doi.org/10.1215/15525864-8949436.

Full text

Abstract:

Abstract This essay analyzes how postfeminism is constructed on a visual level in the Turkish context. It uses theories of postfeminism to discuss new popular romantic comedies of Turkish cinema by comparing the new female protagonists with the women portrayed in Yeşilçam melodramas. Three films—Kocan Kadar Konuş (dir. Kıvanç Baruönü, 2014), Hadi İnşallah (dir. Ali Taner Baltacı, 2014), and Aşk Nerede? (dir. Semra Dündar, 2015)—are analyzed from a postfeminist perspective, opening up a new scholarly discussion about the place of postfeminism in the Turkish cinema. These films represent what ma

APA, Harvard, Vancouver, ISO, and other styles

32

BECERİKLİ, Rifat, and Dilek TAKIMCI. "THE REPRESENTATION OF INDIVIDUAL IN TURKISH CINEMA." INTERNATIONAL PEER-REVIEWED JOURNAL OF COMMUNICATION AND HUMANITIES RESEARCHES, no. 10 (March 30, 2016): 273. http://dx.doi.org/10.17361/uhive.20161016635.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Smets, Kevin. "New Turkish Cinema: belonging, identity and memory." Historical Journal of Film, Radio and Television 30, no. 2 (2010): 246–48. http://dx.doi.org/10.1080/01439681003779291.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Harris, Sarah. "Turkish Popular Cinema: National Claims, Transnational Flows." International Journal of the Humanities: Annual Review 6, no. 3 (2008): 77–88. http://dx.doi.org/10.18848/1447-9508/cgp/v06i03/42400.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Uğur Tanrıöver, Hulya. "Women as film directors in Turkish cinema." European Journal of Women's Studies 24, no. 4 (2016): 321–35. http://dx.doi.org/10.1177/1350506816649985.

Full text

Abstract:

Representations of women, or more exactly of gender, and the presence and works of women filmmakers constitute an important area of analysis for gender studies and feminist film theories. In Turkey the presence and the participation of women in the public sphere have been one of the important objectives of the Kemalist modernization project since the founding of the modern nation-state in 1923. However, despite the modernizing efforts to empower women in different spheres of life there was no woman director in Turkish commercial feature cinema until the beginning of the 1950s. Since the beginn

APA, Harvard, Vancouver, ISO, and other styles

36

Zeycan, Dicle. "Changing Images of Istanbul in Turkish Cinema." SPACE International Journal of Conference Proceedings 1, no. 2 (2021): 35–43. http://dx.doi.org/10.51596/sijocp.v1i2.25.

Full text

Abstract:

With the transformation of post-twentieth-century cities into metropoles, the city has become a complex structure that is hard to perceive. In this perception of the city, cinema stands in a different place than other arts by following a method (with camera) based on the recording in transferring reality. Making the city perceptible by its complex structure becomes possible with the films that present different images of the same city while telling a certain story, with its unique meaning, to the audience of each one. Istanbul was found worthy of being examined with its changing physical and s

APA, Harvard, Vancouver, ISO, and other styles

37

Isenberg, Noah. "Fatih Akin's Cinema of Intersections." Film Quarterly 64, no. 4 (2011): 53–61. http://dx.doi.org/10.1525/fq.2011.64.4.53.

Full text

Abstract:

A career survey of the work of Turkish German director Fatih Akin, whose films (notably The Edge of Heaven and Soul Kitchen) combine comedy with darker notes, emphasizing the theme of dual identity and paying particular attention to the use of music.

APA, Harvard, Vancouver, ISO, and other styles

38

Akser, Murat. "For Those Who Seek Mastery and Personality, by Halit Refiğ." CINEJ Cinema Journal 6, no. 1 (2017): 119–34. http://dx.doi.org/10.5195/cinej.2017.161.

Full text

Abstract:

Halit Refiğ had impact on Turkish national cinema both as a thinker and practitioner. He worked his way up from the 1950s as a film critic and became a film director practicing until the day he died. He also worked along with other directors like Metin Erksan, Lütfi Akad, Memduh Un, Duygu Sagiroglu. Ertem Görec, Nedim Otyam, Ilhan Arakon at Mimar Sinan University’s Turkish Film Institute, the first cinema training department at a University for 25 years training generations of film directors. This excerpt is from a 1968 film magazine essay.

APA, Harvard, Vancouver, ISO, and other styles

39

Akter, Tutku, and Serife Incirlili. "The Reciprocal Relationship between Turkish Cinema and Politics: The Portrayal of ‘Atatürk’ as a Political Leader in Filmic Narrative." Academic Journal of Interdisciplinary Studies 6, no. 1 (2017): 77–86. http://dx.doi.org/10.5901/ajis.2017.v6n1p77.

Full text

Abstract:

Abstract As is known, various studies on the history and development of cinema have shown the reciprocal relationship between cinema and politics. In this regards, it is possible to assume that Hollywood cinema, is not the only cinema that draws attention. During the study, for the purposes of clarifying the interrelationship between “representation” and “ideology” as a modus operandi of Turkish cinema, the portrayal of Atatürk in “Mustafa” will be investigated. The main reason for analyzing this movie in particular it that it is one of the most widely criticized (ideologically) movies on Atat

APA, Harvard, Vancouver, ISO, and other styles

40

GÜNEVİ USLU, Evren. "Losing The Whole In Turkish Cinema: Segmentation In Cinema Perception “Anlat Istanbul”." Tykhe Sanat ve Tasarım Dergisi 8, no. 15 (2023): 293–305. http://dx.doi.org/10.55004/tykhe.1347337.

Full text

Abstract:

Anlatı biçimiyle öne çıkan çağdaş sinema sunduğu ve uyguladığı tekniklerle sinemaya yeni bir estetik boyut kazandırır. Filmsel zaman ve kronolojik zaman arasındaki ilişki anlatı sinemasında yeni bir yapı olarak yer almaktadır. Özellikle ön plana çıkan hikâyenin zamansallığı üzerindeki kronolojik ilişki ile klasik sinema anlayışının ötesine geçer. Doğrusal olmayan anlatılar ile parçalanmış bir anlatı sunarken zaman yaratımı ile sinema, modüler bir anlatı yapısına sahip olur. Bu açıdan değerlendirildiğinde epizodik anlatılar, çatallı anlatılar ve geleneksel olmayan anlatılar karmaşık bir film de

APA, Harvard, Vancouver, ISO, and other styles

41

Akser, Murat. "Halit Refig's I Lost My Heart to a Turk: Woman, Islam and Modernity in Turkish Cinema." CINEJ Cinema Journal 7, no. 1 (2018): 5–29. http://dx.doi.org/10.5195/cinej.2018.223.

Full text

Abstract:

Defined by some critics as the ultimate national cinema movement piece, Halit Refiğ’s I Lost My Heart to a Turk(1969), the love story of a German woman and a Turkish worker in the ancient town of Kayseri becomes a allegory for the Turkish nation’s identity crisis. This paper identifies the parameters used by Refiğ to position the Turkish identity in his film and emphasize the special role of women in Turkish modernization.

APA, Harvard, Vancouver, ISO, and other styles

42

Bruijn, Petra De. "Islam goes Hollywood. An exploratory study on Islam in Turkish cinema." CINEJ Cinema Journal 2, no. 1 (2012): 19–41. http://dx.doi.org/10.5195/cinej.2012.51.

Full text

Abstract:

Abstract By means of two case studies, this article demonstrates how differently Islam is depicted in a Turkish film composed by a secular, intellectual director and in a film considered to promote an Islamic way of life. Yılmaz Güney’s art house film Umut/Hope (1970) depicts Islam as an integral part of Turkish reality. In the story of a poor carriage driver in South East Anatolia, who turns to treasure hunting guided by an imam, folk Islam is compared to a (secular) national lottery ticket: neither are the solution to existential problems. İsmail Güneş’ film The İmam (2005) can be regarded a

APA, Harvard, Vancouver, ISO, and other styles

43

Barlan, Yasemin. "Minik Serçe as a Contrary Example Among the Singer Films in Turkish Cinema." CINEJ Cinema Journal 10, no. 1 (2022): 249–72. http://dx.doi.org/10.5195/cinej.2022.522.

Full text

Abstract:

This article is about the Turkish film Minik Serçe (Little Sparrow, 1978), starring Sezen Aksu, one of Turkey’s most legendary female singer-songwriters. The film belongs to the category of musical “singer films” of Turkish cinema, which were popular between the 1940s and late 1980s. It is also a remake of A Star is Born (1976). The article examines the similarities and differences between the original film and the Turkish remake and compares it with another singer film from the same era Yansın Bu Dünya (1977), which falls into the category of an Arabesk singer film. Both films have similar pl

APA, Harvard, Vancouver, ISO, and other styles

44

Isik, Mehmet, and Funda Masdar Kara. "Turkish cinema in the 2000s: an interview with turkish director Emin Alper." DOC online - Revista Digital de Cinema Documentário 20 (September 30, 2016): 162–66. http://dx.doi.org/10.20287/doc.d20.en2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Kaim, Agnieszka Ayşen. "New Turkish Cinema – Some Remarks On The Homesickness Of The Turkish Soul." CINEJ Cinema Journal 1 (October 6, 2011): 99–106. http://dx.doi.org/10.5195/cinej.2011.23.

Full text

Abstract:

Contemporary cinematography reflects the dualism in modern Turkish society. The heart of every inhabitant of Anatolia is dominated by homesickness for his little homeland. This overpowering feeling affects common people migrating in search of work as well as intellectuals for whom Istanbul is a place for their artistic development but not the place of origin. The city and “the rest” have been considered in opposition to each other. The struggle between “the provincial” and “the urban” has even created its own film genre in Turkish cinematography described as “homeland movies”. They paint the p

APA, Harvard, Vancouver, ISO, and other styles

46

Akser, Murat. "Editorial." CINEJ Cinema Journal 3, no. 2 (2014): 1–4. http://dx.doi.org/10.5195/cinej.2014.116.

Full text

Abstract:

This issue of CINEJ focuses on a varity of topics: American tourism to Mexico and 1950s Hollywood film, cinematic pedagogy of Gilles Deleuze and Manoel de Oliveira, United Arab Emirates building a national cinema, crowdfunding in documentaries, flying scenes in Steven Spielberg's films, Rudaali in film narrative, a brief history of motorcycle in cinema, romantic relief in the Hollywood Blockbuster, filmosphy of Turkish cinema and flash animation as a counter cultural tool.

APA, Harvard, Vancouver, ISO, and other styles

47

Çakmaktaş, Büşra. "From Cinema to Sufism: The Artistic and Mystical Life of Turkish Screenwriter Ayşe Şasa (1941–2014)." Religions 16, no. 6 (2025): 787. https://doi.org/10.3390/rel16060787.

Full text

Abstract:

This article examines the contributions of Turkish screenwriter Ayşe Şasa (1941–2014) to Turkish cinema and visual culture through her engagement with Sufism and metaphysical themes. It explores how Şasa draws on esoteric Sufi concepts such as the oneness of being (waḥdat al-wujūd), asceticism (zuhd), and inspiration (ilhām), using cinema as a vehicle for spiritual inquiry and the quest for truth (ḥaqīqa). Her films—including Hear the Reed (Dinle Neyden), The Night That Never Was (Hiçbir Gece), and My Friend the Devil (Arkadaşım Şeytan)—are explored through thematic and interpretive approaches

APA, Harvard, Vancouver, ISO, and other styles

48

Parlak, Zafer, and Mehmet Işık. "Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media." CINEJ Cinema Journal 7, no. 1 (2018): 30–57. http://dx.doi.org/10.5195/cinej.2018.185.

Full text

Abstract:

Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan’s presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of “would be” critics who openly confess they did not watch Ceylan’s movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacte

APA, Harvard, Vancouver, ISO, and other styles

49

Acaralp, Murat Cem, Fevzi Kasap, and Mustafa Ufuk Çelik. "Representation of Teachers in Turkish Cinema Between 1940 and 1980." CINEJ Cinema Journal 11, no. 2 (2023): 474–97. http://dx.doi.org/10.5195/cinej.2023.566.

Full text

Abstract:

The film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in compariso

APA, Harvard, Vancouver, ISO, and other styles

50

Öztürk, Serdar, and Waseem Ahad. "Cinema of Thought: A Dialectic of Body and Brain in Turkish Art Cinema." Philosophies 10, no. 3 (2025): 56. https://doi.org/10.3390/philosophies10030056.

Full text

Abstract:

Can films contribute to the production of thought? Or, to put the question more radically, can films generate thought on their own, or can there be films that think the unthought? When thought is equated with rationality, logic, concepts, generalizations, and abstractions, the answer can be “no” at the outset, particularly when ordinary people in the flow of their daily lives typically turn to mass films for escapism. On the other side of the spectrum, among the philosophers and social scientists who argue that cinema might contain serious intellectual elements, there is no general approach th

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!