Radyo Televizyon ve Sinema Bölümü Koleksiyonu
Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/64
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Browsing Radyo Televizyon ve Sinema Bölümü Koleksiyonu by Author "Paça Cengiz, Esin"
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Article Citation - WoS: 3Citation - Scopus: 4Cinema Has Split the Girl's Soul Into Pieces: Scrutinizing Representations of Women in Films From Turkey(University of Southern California, 2020) Paça Cengiz, EsinThe 1980s in Turkey were marked by the emergence of new cinematic forms, including films dealing with issues regarding female subjectivity. This article argues that within the scope of an extensive body of films produced about women in the 1980s, Her Name Is Vasfiye, Aaahh Belinda!, How to Save Asiye, Ten Women, and My Dreams, My Love and You opened up a significant space for discussions about ideological constructions concerning images of women in cinema. By deploying reflexive and fragmented structures, laying bare the ideological operations of voice-over and dubbing, and deploying the screen personas Türkan Şoray and Müjde Ar as cinematic tools, these films offer up a critique of representations of women onscreen, including the trend of “women's films.”Article Citation - WoS: 2Citation - Scopus: 2Pushing the Boundaries of the Historical Documentary: Su Friedrich's 1984 the Ties That Bind(Routledge Journals Taylor & Francis Ltd, 2012) Spence, Louise; Spence, Louıse; Cengiz, Esin Paça; Paça Cengiz, EsinThis article argues that Su Friedrich's 1984 film The Ties That Bind employs what were at the time atypical forms and techniques to push the limits of the traditional historical documentary. Its aesthetic experimentation helps to redefine the idea of historical representation in film and does so mainly by treating evidence as both partial (in both senses of the word) and contingent offering a radical challenge to normative history and destabilizing the notion of history as authority. Unlike conventional documentaries the film marks its own limitations: its inability to provide stable answers or eternal certainties. Questioning her mother's spoken memories and commenting on them Friedrich forces a rupture in the 'evidence' of history and establishes a place in which to 'speak' herself. By including the past that her mother is talking about on the sound track as well as the present on the image track (such as images of her mother's life in the early 1980s images of intertitles etched into the film emulsion revealing the questions Friedrich asked her mother and her reactions to the things her mother said as well as images of the filmmaker's visits to historical sites) Friedrich brings the present into the past and demonstrates how history is to quote Walter Benjamin 'time filled with the presence of the now'.Article Citation - WoS: 1Selections From the Fight for National Cinema(Univ Texas Press, 2016) Behlil, Melis; Behlil, Melis; Cengiz, Esin Paça; Paça Cengiz, Esin[Abstract Not Available]
