Halkla İlişkiler ve Tanıtım Bölümü Koleksiyonu

Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/61

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Domestik Etnografi Örneği Olarak Ben Uçtum Sen Kaldın
(Hacettepe Üniversitesi İletişim Fakültesi, 2015) Koçer Çamurdan, Suncem; Koçer Çamurdan, Suncem
In what ways does documentary camera with its unique capacity to disentangle reality penetrate and reconstruct history? At the intersections of history and memory and of family and self, how do documentary narratives crafted through the pursuit of personal life stories, longed family members, and childhood recollections contest hegemonic ideologies about identity? This article focuses on I Flew You Stayed (2012) by Mizgin Müjde Arslan as a reflexive narrative of tracing longed family members and occult life stories. As Arslan searches for her family history to fill out painful gaps in her life journey through documentary practice, she ends up uncovering a restless history construed by ideologies that silence counter-hegemonic voices in unique ways.
Ethnographic Cinema, Anthropology and Issues of Representational Authority in Visual Documentation of Culture
(İmge Kitabevi Yayınları, 2015) Çamurdan Koçer, Suncem; Koçer Çamurdan, Suncem
Ethnographic film has offered unique tools for cultural documentation since the emergence of motion pictures. However, visual representations of culture have had a problematic relationship with the larger discipline of anthropology for decades in part due to the threat of the camera to replace the scientific yet imperfect eye of the anthropologist with a technological tool. This article argues that the rocky relationship between anthropology and the moving image has deeper roots in the epistemological constructions of Self and Other, Home and Field, as well as Modern and Primitive. In conjunction with the dissolution of anthropological authority, a number of ethnographic films dealt with theoretical and ethical questions in relation to the issues of representational authority. The article illustrates three different ethnographic and filmic approaches to the issue: Reassemblage by Trinh T. Min-ha, The Wedding Camels by Judith and David MacDougal and Jaguar by Jean Rouch.
Citation - WoS: 1
Citation - Scopus: 1
Invented Myths in Contemporary Turkish Political Advertising
(Springer, 2016) Koçer Çamurdan, Suncem; Yalkın, Çağrı
This article focuses on the November 2015 elections in Turkey and analyzes the discourses embedded in the political campaign videos produced and circulated by the Justice and Development Party (ruling party since 2002) Republican People's Party (first political party of the republic) People's Democratic Party (main vehicle of the Kurdish politics) and Nationalist Movement Party (ethno-nationalist party). Republic of Turkey's construction in the national imagination over the past 90 years have both rested on and reproduced a range of themes which are themselves based on recently invented nationalist myths such as the common enemy the multicultural mosaic order and progress fight against imperialism the break from the Ottoman empire and Turkey as bridge between east-and-west. Hence we argue that regardless of their severely diverse stance on key issues in the political realm all the political parties use the hegemony's myths as tools in their advertisements therefore reifying these themes in the public imagination.
Citation - WoS: 18
Citation - Scopus: 21
Kurdish Cinema as a Transnational Discourse Genre: Cinematic Visibility, Cultural Resilience, and Political Agency
(Cambrıdge Univ Press, 2014) Koçer Çamurdan, Suncem; Koçer Çamurdan, Suncem
Within 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 strategies used to nationalize Kurdish cinema must be viewed both in the context of the historical forces of Turkish nationalism and against a backdrop of contemporary politics in Turkey, specifically the Turkish government's discourses and policies related to the Kurds. The empirical data for this article derive from ethnographic research in Turkey and Europe conducted between 2009 and 2012.
Citation - WoS: 10
Citation - Scopus: 15
Making Transnational Publics: Circuits of Censorship and Technologies of Publicity in Kurdish Media Circulation
(Wiley-Blackwell, 2013) Koçer Çamurdan, Suncem; Koçer Çamurdan, Suncem
Kurdish media producers who interweave social and political agendas with their filmmaking are often marginalized within Turkish media worlds. Impeded by national censorship these filmmakers move between national and transnational media worlds to advance their cinematic work. Such movement helps them create and maintain transnational publics that reinforce circulation of their media texts. Here I analyze how a documentary film about a seminomadic Kurdish community moves through international screening venues. As it journeys through film festivals in Europe its director Kazim oz accompanies it and through deliberate discourse attempts to increase and accelerate the film's transnational circulation. I explore the ways that oz discursively globalizes his film relates it to festival audiences flags the politics of Kurdish media production and seeks to construct a European public sensitive to the plight of Turkey's Kurds.
Citation - WoS: 15
Citation - Scopus: 24
Social Business in Online Financing: Crowdfunding Narratives of Independent Documentary Producers in Turkey
(Sage Publications Ltd, 2015) Koçer Çamurdan, Suncem; Koçer Çamurdan, Suncem
Crowdfunding is a relatively novel concept in Turkish public discourse. Yet activist media producers in Turkey actively use online opportunities to solicit production post-production and distribution financing. This article explores crowdfunding as a signifier that draws public attention to media texts for which online funding drives are performed. As crowdfunding campaigns circulate through social media they forge publics around the related films videos stories and more significantly the social causes around which these media revolve. Based on long-term ethnographic research with independent media producers in Turkey the article scrutinizes the crowdfunding adventures behind three documentaries My Child Ecumenopolis and I Flew You Stayed as narrated by their producers. Using the analysis of the campaigns for these documentary films as cases I argue that in addition to being a means to raising funds crowdfunding is a tool to accomplish social and political ends ranging from creating communities of support and attracting media attention to building a reputation of independence.

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