Halkla İlişkiler ve Tanıtım Bölümü Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.12469/61
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Browsing Halkla İlişkiler ve Tanıtım Bölümü Koleksiyonu by Scopus Q "Q3"
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Review Citation - Scopus: 1Is the Press Really Free?: the Recent Conflict Between the Government and Media in Turkey(2011) Baybars Hawks, BanuThe history of the relationship between the press and the government dates back to the period of Ottoman Empire but became significantly strained after the foundation of the Turkish Republic. A historical and political economic analysis shows that successive governments in Turkey have found new methods to censor the media as the country's democracy moves towards consolidation. Since 2000 a familiar pressure has been brought to bear on the Turkish media from the conservative majority AKP government which has used legal economic and political-discursive means to control the flow of information thereby favoring a neo-conservative controlled and censored view of news media. This paper takes the recent cases of censorship by the Turkish government on the media as examples to argue governments in Turkey invented new methods of suppressing the press in this more liberal economic and political environment. To that end the method of inquiry includes a certain degree of historical analysis on the change in the political economy of the news media and discourse analysis of the most recent encounters between the media and the government. © Common Ground Banu Baybars Hawks All Rights Reserved.Article Citation - WoS: 18Citation - Scopus: 24Kurdish Cinema as a Transnational Discourse Genre: Cinematic Visibility, Cultural Resilience, and Political Agency(Cambrıdge Univ Press, 2014) Koçer Çamurdan, SuncemWithin 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.
