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The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day. Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations. Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.
Book Synopsis The Routledge Dictionary of Turkish Cinema by : Gönül Dönmez-Colin
Download or read book The Routledge Dictionary of Turkish Cinema written by Gönül Dönmez-Colin and published by Routledge. This book was released on 2013-12-04 with total page 393 pages. Available in PDF, EPUB and Kindle. Book excerpt: The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day. Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations. Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.
The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day. Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations. Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.
Book Synopsis The Routledge Dictionary of Turkish Cinema by : Gonul Donmez-Colin
Download or read book The Routledge Dictionary of Turkish Cinema written by Gonul Donmez-Colin and published by Routledge. This book was released on 2013-12-04 with total page 452 pages. Available in PDF, EPUB and Kindle. Book excerpt: The first critical and analytical dictionary of Turkish Cinema, this book provides a comprehensive overview of Turkish cinema from its beginnings to the present day. Addressing the lacuna in scholarly work on the topic, this dictionary provides immense detail on a wide range of aspects of Turkish cinema including; prominent filmmakers, films, actors, screenwriters, cinematographers, editors, producers, significant themes, genres, movements, theories, production modes, film journals, film schools and professional organizations. Extensively researched, elaborately detailed and written in a remarkably readable style, the Routledge Dictionary of Turkish Cinema will be invaluable for film scholars and researchers as a reference book and as a guide to the dynamics of the cinema of Turkey.
This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.
Book Synopsis The Palgrave Handbook of Asian Cinema by : Aaron Han Joon Magnan-Park
Download or read book The Palgrave Handbook of Asian Cinema written by Aaron Han Joon Magnan-Park and published by Springer. This book was released on 2018-11-04 with total page 743 pages. Available in PDF, EPUB and Kindle. Book excerpt: This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.
This Handbook discusses the new political and social realities in Turkey from a range of perspectives, emphasizing both changes as well as continuities. Contextualizing recent developments, the chapters, written by experts in their fields, combine analytical depth with a broad overview. In the last few years alone, Turkey has experienced a failed coup attempt; a prolonged state of emergency; the development of a presidential system based on the supreme power of the head of state; a crackdown on traditional and new media, universities and civil society organizations; the detention of journalists, mayors and members of parliament; the establishment of political tutelage over the judiciary; and a staggering economic crisis. It has also terminated talks with the Kurdistan Workers Party (PKK); intervened in and occupied mountainous border areas in northern Iraq to fight that organization; occupied Afrin and strips of territory in northern Syria; intervened in Libya; articulated an assertive transnational politics toward “kin” across the world; strained its relations with the European Union and the US, while developing relations with Russia; flirted with China’s intercontinental Belt and Road Initiative; and carved out a presence in Africa, to name just a few of the most recent developments. This volume provides a comprehensive and wide-ranging overview of the making of modern Turkey. It is a key reference for students and scholars interested in political economy, security studies, international relations and Turkish studies.
Book Synopsis The Routledge Handbook on Contemporary Turkey by : Joost Jongerden
Download or read book The Routledge Handbook on Contemporary Turkey written by Joost Jongerden and published by Routledge. This book was released on 2021-07-26 with total page 674 pages. Available in PDF, EPUB and Kindle. Book excerpt: This Handbook discusses the new political and social realities in Turkey from a range of perspectives, emphasizing both changes as well as continuities. Contextualizing recent developments, the chapters, written by experts in their fields, combine analytical depth with a broad overview. In the last few years alone, Turkey has experienced a failed coup attempt; a prolonged state of emergency; the development of a presidential system based on the supreme power of the head of state; a crackdown on traditional and new media, universities and civil society organizations; the detention of journalists, mayors and members of parliament; the establishment of political tutelage over the judiciary; and a staggering economic crisis. It has also terminated talks with the Kurdistan Workers Party (PKK); intervened in and occupied mountainous border areas in northern Iraq to fight that organization; occupied Afrin and strips of territory in northern Syria; intervened in Libya; articulated an assertive transnational politics toward “kin” across the world; strained its relations with the European Union and the US, while developing relations with Russia; flirted with China’s intercontinental Belt and Road Initiative; and carved out a presence in Africa, to name just a few of the most recent developments. This volume provides a comprehensive and wide-ranging overview of the making of modern Turkey. It is a key reference for students and scholars interested in political economy, security studies, international relations and Turkish studies.
This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women's film-making. Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema's approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women's interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of 'deterritorialized' film-makers negotiating loyalties to both vatan (motherland) and the adopted country. This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.
Book Synopsis Women in the Cinemas of Iran and Turkey by : Gonul Donmez-Colin
Download or read book Women in the Cinemas of Iran and Turkey written by Gonul Donmez-Colin and published by Routledge. This book was released on 2019-07-19 with total page 349 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume compares the cinemas of Iran and Turkey in terms of the presence and absence of women on both sides of the camera. From a critical point of view, it provides detailed readings of works by both male and female film-makers, emphasizing issues facing women's film-making. Presenting an overview of the modern histories of the two neighbouring countries, the study traces certain similarities and contrasts, particularly in the reception, adaption and representation of Western modernity and cinema. This is followed by the exploration of the images of women on screen with attention to minority women, investigating post-traumatic cinema's approaches to women (Islamic Revolution of 1979 in Iran and the 1980 coup d’état in Turkey) and women's interpretations of post-traumatic experiences. Furthermore, the representations of sexualities and LGBTI identities within cultural, traditional and state-imposed restrictions are also discussed. Investigating border-crossing in physical and metaphorical terms, the research explores the hybridities in the artistic expressions of 'deterritorialized' film-makers negotiating loyalties to both vatan (motherland) and the adopted country. This comprehensive analysis of the cinemas of Iran and Turkey, based on extensive research, fieldwork, interviews and viewing of countless films is a key resource for students and scholars interested in film, gender and cultural studies and the Middle East.
A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.
Book Synopsis A Dictionary of Film Studies by : Annette Kuhn
Download or read book A Dictionary of Film Studies written by Annette Kuhn and published by Oxford University Press. This book was released on 2020-04-28 with total page 576 pages. Available in PDF, EPUB and Kindle. Book excerpt: A Dictionary of Film Studies covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field, and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally. Indices of films and filmmakers mentioned in the text are included for easy access to relevant entries. The dictionary also has 13 feature articles on popular topics and terms, revised and informative bibliographies for most entries, and more than 100 web links to supplement the text.
This book explores responses to authoritarianism in Turkish society through popular culture by examining feature films and television serials produced between 1980 and 2010 about the 1980 coup. Envisioned as an interdisciplinary study in cultural studies rather than a disciplinary work on cinema, the book advocates for an understanding of popular culture in discerning emerging narratives of nationhood. Through feature films and television serials directly dealing with the coup of 1980, the book exposes tropes and discursive continuities such as “childhood” and “the child”. It argues that these conventional tropes enable popular debates on the modern nation’s history and its myths of identity.
Book Synopsis Social Trauma and Telecinematic Memory by : Pelin Başcı
Download or read book Social Trauma and Telecinematic Memory written by Pelin Başcı and published by Springer. This book was released on 2017-10-24 with total page 340 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book explores responses to authoritarianism in Turkish society through popular culture by examining feature films and television serials produced between 1980 and 2010 about the 1980 coup. Envisioned as an interdisciplinary study in cultural studies rather than a disciplinary work on cinema, the book advocates for an understanding of popular culture in discerning emerging narratives of nationhood. Through feature films and television serials directly dealing with the coup of 1980, the book exposes tropes and discursive continuities such as “childhood” and “the child”. It argues that these conventional tropes enable popular debates on the modern nation’s history and its myths of identity.
This volume covers approaches concerning the relationship between innovation in cinema and the politics of filmmaking in new cinema practices in Turkey. The contributors focus on historiography, genres, mainstream and art cinema production, and transnational cinema, as well as changing narratives and identities. The new cinema movement in Turkey is here analysed from perspectives of new technologies, new production and distribution structures, the impact of film training, the televisual industry, new actors in commercial and art cinema, as well as the impact of the film festival circuit. Additionally, recurring themes of memory, trauma, and identity are dealt with from multidisciplinary angles. The volume covers in depth analyses of the internationally renowned filmmakers Nuri Bilge Ceylan, Fatih Akın, Semih Kaplanoğlu, Reha Erdem, Zeki Demirkubuz, Yeşim Ustaoğlu and Derviş Zaim. A timely study on the centenary of Turkish cinema in 2014, students of Middle Eastern Studies, Film Studies, Cultural Studies, Urban Studies, Gender Studies, and Identity Studies will find this volume extremely relevant to their work.
Book Synopsis New Cinema, New Media by : Murat Akser
Download or read book New Cinema, New Media written by Murat Akser and published by Cambridge Scholars Publishing. This book was released on 2014-04-23 with total page 310 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume covers approaches concerning the relationship between innovation in cinema and the politics of filmmaking in new cinema practices in Turkey. The contributors focus on historiography, genres, mainstream and art cinema production, and transnational cinema, as well as changing narratives and identities. The new cinema movement in Turkey is here analysed from perspectives of new technologies, new production and distribution structures, the impact of film training, the televisual industry, new actors in commercial and art cinema, as well as the impact of the film festival circuit. Additionally, recurring themes of memory, trauma, and identity are dealt with from multidisciplinary angles. The volume covers in depth analyses of the internationally renowned filmmakers Nuri Bilge Ceylan, Fatih Akın, Semih Kaplanoğlu, Reha Erdem, Zeki Demirkubuz, Yeşim Ustaoğlu and Derviş Zaim. A timely study on the centenary of Turkish cinema in 2014, students of Middle Eastern Studies, Film Studies, Cultural Studies, Urban Studies, Gender Studies, and Identity Studies will find this volume extremely relevant to their work.
Reveals a rich cinematic history, discussing Hamlet films from Africa, Asia, Europe, Latin America and the Middle East.
Book Synopsis 'Hamlet' and World Cinema by : Mark Thornton Burnett
Download or read book 'Hamlet' and World Cinema written by Mark Thornton Burnett and published by Cambridge University Press. This book was released on 2019-07-04 with total page 309 pages. Available in PDF, EPUB and Kindle. Book excerpt: Reveals a rich cinematic history, discussing Hamlet films from Africa, Asia, Europe, Latin America and the Middle East.
Tunç Okan (Bay Okan) is an independent emigrant filmmaker born in 1942 in Turkey. He started his filmmaking career in 1974 with his debut film The Bus, which he made in Sweden, and partly in Germany. He completed the film some seven years after he quit his short but hectic acting career in Turkey’s popular commercial cinema industry, Yeşilçam. A dentist by training, Okan’s cinema career started in 1965 after winning an acting competition organised by a popular film magazine. Starring in thirteen films in a period of less than two years, he achieved considerable fame. In 1967, Okan quit his career in Yeşilçam, which he accused of anaesthetising society, and immigrated to Switzerland.3 His debut film The Bus was followed by only three other films: Drôle de samedi (Funny Saturday, 1985), Mercedes mon Amour (The Yellow Mercedes, 1992), and Umut Üzümleri (Grapes of Hope, 2013). Okan’s films are products that can best be studied in relation to both the mainstream popular cinema of Turkey, Yeşilçam, in which Okan started his cinema career, and in relation to certain European filmmakers and cinema movements that have influenced his cinema. Naficy’s accented cinema concept ultimately focuses too much on Hollywood cinema, and for this reason, it is ill-equipped to study the cinema of filmmakers like Okan, whose works have little to do with Hollywood. Okan’s cinema requires a different approach and a vocabulary which will enable one to study his cinema in relation not only to Hollywood, but to a diverse group of personal cinemas and cinema movements. Okan is an eclectic filmmaker; his cinema is in constant flux. As I demonstrate in this study, Okan’s cinema is inspired by a diverse group of filmmakers and cinemas. In his films, one can find markers of, inspirations from, and references to a great variety of European filmmakers, ranging from Wim Wenders to Jacques Tati, Jean-Luc Godard to Jack Clayton, and cinema movements from Italian Neorealism to the Czechoslovak New Wave, French New Wave to British Free Cinema influenced New Wave kitchen-sink dramas. Although his films feature recurrent themes relating to im/migration, being the cinema of an independent filmmaker Okan’s cinema proves to be a difficult one to categorise because of the many neatly employed inspirations from, and references to, diverse sources. Perhaps this is one of the reasons why it has thus far received so little attention. Okan is not a “typical” Turkish film director. Only half of his films take place in Turkey, and even those films feature parts that were shot abroad. More importantly, he is not a film- maker who uses themes, cultural icons, stereotypes, narration strategies, and filmic aesthetics that have typically been used by filmmakers in Turkey. He is also not a filmmaker who has attracted the attention of international critics. His cinema is a cinema in-between; it is a cinema of tensions and competing identities, visions, and interests. It invokes a split reception on the viewer. On one hand, his films can be read in relation/reaction to tendencies in national/Turkish cinema, and on the other hand, in relation to international, particularly the European, arthouse cinema. Given this, the best way to understand and appreciate his works is perhaps to read Okan’s films in dialogue with developments in both cinema of Turkey and European (art) cinema, for his “signature” derives influences from a variety of sources in these cinemas. Okan’s own words, identifying himself as a “European Turk” could be seen as legitimisation, and encouragement to discuss his works in relation to both cinema of Turkey and European (art) cinema. Okan is neither a one-issue director nor a filmmaker who restricts himself to one format or genre. On the contrary, his films are always on the road, sometimes literally; his third film, The Yellow Mercedes, is a road movie, and The Bus, though not being a road movie in the strict sense, generously exploits the conventions of the genre. Figuratively, all of Okan’s films are in search of new ways of expression. Indeed, they are the products of this very search. This constant search motivates him to challenge, and often cross, many established conventions and boundaries of cinema. Okan’s cinema is what I call “transboundary cinema”.
Book Synopsis A Transboundary Cinema by : Tage Tayfun Einar Luxembourgeus
Download or read book A Transboundary Cinema written by Tage Tayfun Einar Luxembourgeus and published by Proverbial Elephant. This book was released on 2020-09-01 with total page 231 pages. Available in PDF, EPUB and Kindle. Book excerpt: Tunç Okan (Bay Okan) is an independent emigrant filmmaker born in 1942 in Turkey. He started his filmmaking career in 1974 with his debut film The Bus, which he made in Sweden, and partly in Germany. He completed the film some seven years after he quit his short but hectic acting career in Turkey’s popular commercial cinema industry, Yeşilçam. A dentist by training, Okan’s cinema career started in 1965 after winning an acting competition organised by a popular film magazine. Starring in thirteen films in a period of less than two years, he achieved considerable fame. In 1967, Okan quit his career in Yeşilçam, which he accused of anaesthetising society, and immigrated to Switzerland.3 His debut film The Bus was followed by only three other films: Drôle de samedi (Funny Saturday, 1985), Mercedes mon Amour (The Yellow Mercedes, 1992), and Umut Üzümleri (Grapes of Hope, 2013). Okan’s films are products that can best be studied in relation to both the mainstream popular cinema of Turkey, Yeşilçam, in which Okan started his cinema career, and in relation to certain European filmmakers and cinema movements that have influenced his cinema. Naficy’s accented cinema concept ultimately focuses too much on Hollywood cinema, and for this reason, it is ill-equipped to study the cinema of filmmakers like Okan, whose works have little to do with Hollywood. Okan’s cinema requires a different approach and a vocabulary which will enable one to study his cinema in relation not only to Hollywood, but to a diverse group of personal cinemas and cinema movements. Okan is an eclectic filmmaker; his cinema is in constant flux. As I demonstrate in this study, Okan’s cinema is inspired by a diverse group of filmmakers and cinemas. In his films, one can find markers of, inspirations from, and references to a great variety of European filmmakers, ranging from Wim Wenders to Jacques Tati, Jean-Luc Godard to Jack Clayton, and cinema movements from Italian Neorealism to the Czechoslovak New Wave, French New Wave to British Free Cinema influenced New Wave kitchen-sink dramas. Although his films feature recurrent themes relating to im/migration, being the cinema of an independent filmmaker Okan’s cinema proves to be a difficult one to categorise because of the many neatly employed inspirations from, and references to, diverse sources. Perhaps this is one of the reasons why it has thus far received so little attention. Okan is not a “typical” Turkish film director. Only half of his films take place in Turkey, and even those films feature parts that were shot abroad. More importantly, he is not a film- maker who uses themes, cultural icons, stereotypes, narration strategies, and filmic aesthetics that have typically been used by filmmakers in Turkey. He is also not a filmmaker who has attracted the attention of international critics. His cinema is a cinema in-between; it is a cinema of tensions and competing identities, visions, and interests. It invokes a split reception on the viewer. On one hand, his films can be read in relation/reaction to tendencies in national/Turkish cinema, and on the other hand, in relation to international, particularly the European, arthouse cinema. Given this, the best way to understand and appreciate his works is perhaps to read Okan’s films in dialogue with developments in both cinema of Turkey and European (art) cinema, for his “signature” derives influences from a variety of sources in these cinemas. Okan’s own words, identifying himself as a “European Turk” could be seen as legitimisation, and encouragement to discuss his works in relation to both cinema of Turkey and European (art) cinema. Okan is neither a one-issue director nor a filmmaker who restricts himself to one format or genre. On the contrary, his films are always on the road, sometimes literally; his third film, The Yellow Mercedes, is a road movie, and The Bus, though not being a road movie in the strict sense, generously exploits the conventions of the genre. Figuratively, all of Okan’s films are in search of new ways of expression. Indeed, they are the products of this very search. This constant search motivates him to challenge, and often cross, many established conventions and boundaries of cinema. Okan’s cinema is what I call “transboundary cinema”.
