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Relevant bibliographies by topics / Turkish Melodrama

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Journal articles

Academic literature on the topic 'Turkish Melodrama'

Author: Grafiati

Published: 26 July 2024

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Journal articles on the topic "Turkish Melodrama"

1

Yıldırım, Tunç. "The practice of “de-genrification” of the Turkish film criticism in the late 1950’s: The critical receptions and the aesthetic analysis of melodramas like Three Friends (1958) and Port of the Lonely (1959)1950’ler sonu Türk sinema eleştirisinin “türsüzleştirme” uygulaması: Üç Arkadaş (1958) ve Yalnızlar Rıhtımı (1959) melodramlarının eleştirel alımlamaları ve estetik çözümlemeleri." Journal of Human Sciences 13, no. 2 (2016): 3181. http://dx.doi.org/10.14687/jhs.v13i2.3945.

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This article focuses on two similar examples of melodramas which are representations of the general aesthetic tendency during the genesis of Yeşilçam period (1948-1959) of the Turkish cinema. This work aims to prove that in the aforementioned era, critical discourse which categorizes, names and classifies movies, imposed the practice of de-genrification for Three Friends and Port of the Lonely. To accomplish this aim, an analysis of comparative critical reception should be done in the first stage. Secondly esthetics analysis for those two movies of the same hybrid genre (melodrama), must be pr

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2

Partovi, Pedram. "Televisual Experiences of Iran's Isolation: Turkish Melodrama and Homegrown Comedy in the Sanctions Era." Review of Middle East Studies 52, no. 1 (2018): 115–34. http://dx.doi.org/10.1017/rms.2018.4.

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AbstractThis essay examines the television viewing habits of Iranians since 2010, when the first of a series of crippling international sanctions were imposed on Iran after diplomatic efforts to curb the country's nuclear program stalled. Like many others in the region, viewers in Iran have been swept up by the recent wave of Turkish serials, which a new generation of offshore private networks dubbed into Persian and beamed to households with illegal satellite television dishes. These glossy melodramas provided access to consumerist utopias increasingly beyond the reach of Iranians living unde

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3

Akser, Murat. "Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love." CINEJ Cinema Journal 3, no. 1 (2014): 162–80. http://dx.doi.org/10.5195/cinej.2013.57.

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This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film com

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4

Öncü, Ayşe. "Representing and consuming “the East” in cultural markets." New Perspectives on Turkey 45 (2011): 49–73. http://dx.doi.org/10.1017/s0896634600001308.

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Abstract“The East” is an exceptional territory identified with Kurdish ethnicity within the geographical boundaries of the Turkish nation. This paper focuses on a critical historical moment, circa 2000-2004, when the promise of peace in this region was coupled with the explosive growth of urban consumer markets, to bring into public circulation a host of commercialized images of “the East” and “Eastern people.” It examines how “the East” became codified in popular television melodrama. It also tracks how “Eastern tourism” became incorporated into middle-class leisure practices. By juxtaposing

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5

Erdogan, N. "Narratives of resistance: national identity and ambivalence in the Turkish melodrama between 1965 and 1975." Screen 39, no. 3 (1998): 259–71. http://dx.doi.org/10.1093/screen/39.3.259.

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6

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.

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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

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7

BANALOPOULOU, CHRISTINA. "Viral Interstitiality and Unlikely Resources: Gender and Labour in Turkish Public Theatre During the Covid-19 Pandemic." Theatre Research International 49, no. 1 (2024): 101–6. http://dx.doi.org/10.1017/s0307883323000408.

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The growing literature on Covid-19 and theatre has demonstrated how the pandemic has intensified gendered precarities in theatrical labour.1 However, the pandemic has also provided feminist theatre makers with unexpected or unlikely resources, albeit with limitations. The Istanbul Municipal Theatre's (İstanbul Büyükşehir Belediyesi Şehir Tiyatroları or İBBŞT) production of Melek that premiered in 2020 is an indicative example of such rare and largely invisible cases of pandemic theatre. Critically engaging with the archives and repertoires of tuberculosis (TB) melodrama and the Turkish lives o

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8

Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom." CINEJ Cinema Journal 5, no. 1 (2016): 34–56. http://dx.doi.org/10.5195/cinej.2015.124.

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Zenne Dancer is a 2011 Turkish film written by Caner Alper and directed by Alper and Mehmet Binay. It is inspired by the story of Ahmet Yildiz, a gay Kurdish Turk allegedly murdered by his father in 2008 for dishonoring his family. Through its depiction of the unlikely friendship between three men, the film addresses the problem of homosexuality, the desire-in-uneasiness evoked by men being together, and the complex social structures of honor killings. In its address of honor killings, Zenne Dancer follows in a prestigious line of some of the best of Turkish and world cinema. Importantly, thou

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9

Kanaker, Osama, Iyad L. Y. Abusalah, Emran (Mohamad Ali) Abdalah Al Qudah, Zulkiple Abd Ghani, and Bushra Abuhaq. "The Role of Watching Historical Drama on the Values of Affiliation and Justice: A Study on the Revival of Ertuğrul." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 3 (2022): 228–43. http://dx.doi.org/10.17576/jkmjc-2022-3803-14.

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Drama is a form of art that attracts myriad viewers throughout the world. It has four main types: comedy, tragedy, tragicomedy and melodrama. Drama originally is based on different types of contemporary or historical stories. Historical drama is a form of drama that envisions and visualises historical events to send desired messages to audiences. Drama in general and historical drama, in particular, is not merely entertainment-oriented. Rather, drama is value-laden. Currently, Turkish drama is popular in the Middle East. The historical drama of The Revival of Ertuğrul is not only popular in th

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10

Asadova, Dilbarkhon. "POSTMODERN ELEMENTS IN ORHAN PAMUK'S NOVEL “MY NAME IS RED”." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 04, no. 03 (2023): 40–48. http://dx.doi.org/10.37547/philological-crjps-04-03-07.

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This scientific article reveals the postmodern elements in the novel "My name is red" by Orhan Pamuk, one of the leading representatives of Turkish postmodern literature. The main idea of the work is to end the conflict between Eastern and Western cultures and to harmonize the two with each other. In the novel "My name is red", Orhan Pamuk skillfully uses the elements of detective fiction, East-West conflict in art, and melodrama in terms of the processing of old motifs and the development of events. The article emphasizes that the novel "My Name is Red" is a detective fiction and a love story

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