Radyo Televizyon ve Sinema Bölümü Koleksiyonu
Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/64
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Article Citation Count: 0Accented Essays: Documentary as Artistic Practice in Contemporary Audiovisual Works from Turkey(Routledge Journals, Taylor & Francıs Ltd, 2019) Akçalı Kuyucu, ElifThis article looks at the use of documentary filmmaking in contemporary artistic practices in Turkey, specifically focusing on three works that adopt a first-person, subjective viewpoint: Didem Pekun's Of Dice and Men (2016), Sener ozmen's How to Tell of Peace to a Living Dove? (2015), and Aykan Safoglu's Off-White Tulips (2013). Made by artists in transition, these films tackle themes of belonging and identity through stylistic choices proper to essayistic filmmaking, which allow these works to be regarded as accented essays. The personal questions raised through the aesthetics they employ become relevant to collective issues of culture, history, and memory, offering an alternative understanding of the social context, which was largely affected by the political events during the period in which they were made.Editorial Citation Count: 7The Act of Killing An Interview with Joshua Oppenheimer(CINEASTE, 2013) Behlil, Melis; Oppenheimer, Joshua[Abstract Not Available]Article Citation Count: 3Cinema Has Split the Girl's Soul Into Pieces: Scrutinizing Representations of Women in Films From Turkey(University of Southern California, 2020) Cengiz, Esi̇n PaçaThe 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 Count: 3The collector's world(Routledge Journals, Taylor & Francıs Ltd, 2020) Diken, Bülent; Laustsen, Carsten BaggeThe article discusses the figure of the collector. We start with positioning the collector in relation to a lack, emphasizing that collecting is not about aesthetic beauty, pleasure or even perfectness, but primarily about filling a gap. The collection itself is merely a by-product of the desire to collect. Discussing how this desire is socially mediated, we move on to contextualizing the collector in relation to the distinction between the useful and the useless. We stress, in this context, that collecting is an inoperative praxis. This is followed by a discussion of the collector's psychopathology in terms of affects and interpassivity. Finally, we turn to the history of the collector and to collecting as a field in sociological terms, and end with articulating a typology of the collector.Book Review Citation Count: 0Article Citation Count: 0The despotic imperative: From Hiero to the circle(Duke University Press, 2019) Diken, BülentThe article thematizes the actuality of despotism through a double reading of Xenophon’s Hiero and Dave Eggers’s Circle. A key text on despotism, Hiero is interesting to reconsider in a contemporary context because of its explicit focus on the economic element in the nexus of despotism, economy, and voluntary servitude. Discussing this nexus in an ancient context, the article turns to The Circle, a dystopic novel from 2013, which elaborates on how the attempt at creating a transparent society results in the perversion of democracy to the point where a despotism fueled by economization and voluntary servitude becomes immediately evident. Notwithstanding the significant differences between the two perceptions of despotism that proliferate in Hiero and The Circle, their shared focus on the nexus of despotism, economy, and voluntary servitude testifies to an interesting case of convergence in divergence. Offering an account of this continuity, the article ends with reflecting on this nexus itself, arguing that it should be rethought in a new way today. The concept of use is suggested as a key concept for such reconsideration.Book Review Citation Count: 0Documentary Film: A Very Short Introduction(CINEASTE, 2008) Behlil, Melis; Spence, Louıse[Abstract Not Available]Article Citation Count: 2Essayistic Tendencies in Contemporary Kurdish Filmmaking in Turkey(Univ Illinois Press, 2019) Akçalı Kuyucu, Elif[Abstract Not Available]Editorial Citation Count: 0Forum: Visualizing History Visualizing Nation(Routledge Journals Taylor & Francis Ltd, 2014) Spence, Louıse[Abstract Not Available]Editorial Citation Count: 0In Focus: Non-Western Historiography? Introduction(Univ Texas Press, 2010) Spence, Louıse; Spence, Louise[Abstract Not Available]Editorial Citation Count: 52Introduction: Orienting Istanbul-cultural capital of Europe?(Routledge Journals Taylor & Francis Ltd, 2010) Soysal, Levent; Soysal, Levent; Türeli, Ipek[Abstract Not Available]Article Citation Count: 3"Life is a state of mind' - on fiction, society and Trump(Routledge Journals, 2017) Diken, Bülent; Laustsen, Carsten BaggeThe article undertakes an allegorical double reading of Being There and Trump as instances of what we call socio-fiction. Crucially in this respect, reality and fiction are not two opposed realms. The two realms always interact in subtle ways, which is why cinema can be a resource for diagnostic social analysis. We first articulate a general commentary on the relationship between cinema and society, introducing the concept of socio-fiction'. Secondly, we analyse Peter Sellers' Being There, an interesting film focused on the relationship between reality and fiction. In this analysis, we elaborate on different ways of approaching fiction in a sociological prism. And finally, we discuss Trump as a fallout effect of Being There. After all, a film is not just an image of a reality, a shadow or appearance of a social fact; sometimes the reality itself seems to have become an appearance of an appearance, a shadow of a shadow.Editorial Citation Count: 4The Look of Silence An Interview with Joshua Oppenheimer and Adi Rukun(CINEASTE, 2015) Behlil, Melis[Abstract Not Available]Book Part Citation Count: 1The migration story of Turks in Germany: from the beginning to the end(Cambrıdge Univ Press, 2008) Soysal, Levent[Abstract Not Available]Book Part Citation Count: 0Migration the sociology of mobility and critical theory(Taylor & Francis, 2018) Diken, BülentBeing one of my PhD supervisors John’s influence on my intellectual life has been decisive in many respects. However his work has inspired me especially in relation to three fields: immigration the sociology of critique and the critique of mobility. The following is a reflective account of this. First I focus on immigration in the prism of mobility. Then I turn to the sociology of critique in the framework of mobility. Finally I revisit the link between critique and immobility relating this to the sociology of the camp. © 2019 selection and editorial matter Ole B. Jensen Sven Kesselring and Mimi Sheller.Article Citation Count: 1A Moebial Ride through Polanski's Repulsion(Univ Pittsburgh, 2020) Tüzün, DefneThis article examines Roman Polonski's film Repulsion from a psychoanalytic perspective by attending Julia Kristeva's notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film's portrayal of the protagonist, Carole's abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.Article Citation Count: 1Neo-Despotism as Anti-Despotism(Sage Publications, 2021) Diken, BülentI treat despotism as a virtual concept. Thus it is necessary to expose its actualizations even when it appears as its opposite, refusing to recognize itself as despotism. I define despotism initially as arbitrary rule, in terms of a monstrous transgression of the law. But since the monster is grounded in its very formlessness, it cannot be demonstrated. However, one can always try to de-monstrate it through disagreements. In doing this, I deal with despotism not as a solipsistic undertaking but as part of a constellation that always already contains two other elements: economy and voluntary servitude. I give three different – ancient, early modern and late modern – accounts of this nexus, demonstrating how despotism continuously takes on new appearances. I conclude, in a counter-classical prism, how the classical nexus has evolved in modernity while the focus gradually shifted towards another triangulation: neo-despotism, use and dissent.Book Part Citation Count: 0PERSPECTIVE SCHOLAR LOUISE SPENCE ON COMPARING THE SOAP OPERA TO OTHER FORMS(Univ Press Mississippi, 2011) Spence, Louıse; Spence, Louise[Abstract Not Available]Book Review Citation Count: 0Article Citation Count: 2Pushing the boundaries of the historical documentary: Su Friedrich's 1984 The Ties That Bind(Routledge Journals Taylor & Francis Ltd, 2012) Spence, Louıse; Cengiz, Esin PaçaThis 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'.
