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 Issue Date
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Article Citation - WoS: 19Rap Hiphop Kreuzberg: Scripts Of/For Migrant Youth Culture in the Worldcity Berlin(Telos Press Ltd, 2004) Soysal, Levent; Soysal, Levent; Radio, Television and Cinema[Abstract Not Available]Book Part Citation - WoS: 2Turkish Academics in Europe an Autumn Tale(Springer, 2006) Bayraktar, Gülümser Deniz; Bayrakdar, Gülümser Deniz; Radio, Television and Cinema[Abstract Not Available]Book Part Yeşilçam’dan Yazmak: Orhan Aksoy Filmleri ve Kerime Nadir Romanları(Bağlam Yayınları, 2006-11-01) Sarıkartal, Çetin Kemal; TheatreBook Part Kim Seyreder, Kim Bilir: Gölge Oyunu Filminde Seyir Anlatı İlişkisi(Bağlam Yayıncılık, 2007-05-01) Sarıkartal, Çetin Kemal; TheatreBook Part Citation - WoS: 1The Migration Story of Turks in Germany: From the Beginning To the End(Cambrıdge Univ Press, 2008) Soysal, Levent; Soysal, Levent; Radio, Television and Cinema[Abstract Not Available]Book Review Citation - WoS: 0The Politics of Documentary(CINEASTE, 2008) Behlil, Melis; Behlil, Melis; Spence, Louise; Spence, Louıse; Radio, Television and Cinema[Abstract Not Available]Book Review Citation - WoS: 0Documentary Film: a Very Short Introduction(CINEASTE, 2008) Behlil, Melis; Behlil, Melis; Spence, Louise; Spence, Louıse; Radio, Television and Cinema[Abstract Not Available]Book Part İstanbul Convertible(Bağlam Yayıncılık, 2008-05-01) Bayrakdar, Gülümser Deniz; akçalı; Akçalı, Elif; Radio, Television and CinemaArticle Zihinsel Koleksiyonlar: Yeşilçam'dan Beyazcama(Mehtap Yüksel, 2009) Kotaman, AslıWalter Benjamin, eşya koleksiyonculuğu yapan kişiler hakkında yazmış ve hayatından mutlu olmayan insanların eski objeleri toplayarak kendilerine alternatif bir yaşam kurduklarını ve bu yolla adeta geçmişi çağırdıklarını söylemiştir. Bu insanlar geçmişten topladıkları eşyaları bugünkü hayatlarına iliştirirler. Zihnimizde geçmişe dair bir izleği sürersek anıların bize bazen bir koku, bazen Proust’un madleni gibi bir tat ve çoğu zamansa görsel imgeler halinde gelmekte olduğunu görürüz. Bir şeyi gördüğünüzden yıllar sonra onu tekrar gördüğünüzde aslında onun zihninizde bıraktığı parçaları bütünlemektesinizdir. Yerli dramaların Yeşilçam’ın “altın yılları”ndaki melodram filmlerini hatırlatmaları da bu yüzdendir. Yeşilçam filmleri ile bugünün yerli dramalarının metinleri arasında bir bağ bulunmaktadır. Bu nedenle de yerli dramalar bugüne ait oldukları kadar geçmişe de aittirler. Anlatı ve estetik birliğinin ötesinde bir kültürel deneyim olarak incelediğimizde yerli dramalar ile Yeşilçam filmleri arasındaki benzerlik ilgi çekicidir.Book Part Başka Diyarlara Görsel Yolculuklar: Sinemasal Göç Kuramları(Bağlam Yayınları, 2009-05-01) Soysal, Levent; Radio, Television and CinemaEditorial Citation - WoS: 0In Focus: Non-Western Historiography? Introduction(Univ Texas Press, 2010) Guratai, Ahmet; Spence, Louıse; Spence, Louise; Radio, Television and Cinema[Abstract Not Available]Article Citation - WoS: 2Citation - Scopus: 3Working-Class Hero: Michael Moore's Authorial Voice and Persona(Wiley-Blackwell, 2010) Spence, Louise; Spence, Louıse; Navarro, Vinicius; Radio, Television and Cinema[Abstract Not Available]Editorial Citation - Scopus: 56Introduction: Orienting Istanbul-Cultural Capital of Europe?(Routledge Journals Taylor & Francis Ltd, 2010) Göktürk, Deniz; Soysal, Levent; Soysal, Levent; Türeli, Ipek; Radio, Television and Cinema[Abstract Not Available]Book Part Citation - WoS: 0Perspective Scholar Louise Spence on Comparing the Soap Opera To Other Forms(Univ Press Mississippi, 2011) De Kosnik, Abigail; Spence, Louıse; Spence, Louise; Radio, Television and Cinema[Abstract Not Available]Book Part İstanbul Hatırası, Sinema Hafızası: Fatih Akın’ın İstanbul’u(Bağlam Yayıncılık, 2011-05-01) Behlil, Melis; Radio, Television and CinemaBook Part Filmik Gerçeklikle Haritalamak: Lars Von Trier’in Europa’sı Fatih Akın’ın Avrupası(Bağlam Yayıncılık, 2011-05-01) bayrakdar; Bayrakdar, Gülümser Deniz; Radio, Television and CinemaArticle 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, Esin; Radio, Television and CinemaThis 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: 11Citation - Scopus: 14The Talking Witness Documentary: Remembrance and the Politics of Truth(Routledge Journals Taylor & Francis Ltd, 2013) Spence, Louise; Spence, Louıse; Avci, Asli Kotaman; Radio, Television and CinemaThis article argues that the conventional talking witness documentary by relying on memory of experience as evidence employs an inherently conservative politics of truth. Using a recent Kurdish video 5 No.lu Cezaevi/Prison No. 5 (Cayan Demirel 2009) as a case study it considers the opportunities and limitations of the talking witness form as well as its appeals. The essay pays special attention to the documentary's use of mimetic' affective engagement to break into the moral and conceptual space of trauma and the harrowing experiences of men and women who were incarcerated in the notorious Diyarbakr prison in eastern Turkey in the aftermath of the 1980 Turkish coup d'etat thus endeavoring to at once fix and disseminate memories of a violent past that run counter to state-authored versions of that history.Editorial Citation - WoS: 7The Act of Killing an Interview With Joshua Oppenheimer(CINEASTE, 2013) Behlil, Melis; Behlil, Melis; Oppenheimer, Joshua; Radio, Television and Cinema[Abstract Not Available]Book Review Citation - WoS: 0A Companion To the Historical Film(CINEASTE, 2013) Spence, Louise; Spence, Louıse; Radio, Television and Cinema[Abstract Not Available]
