Spence, Louıse

Spence, Louıse

Name Variants

Spence, Louıse
L.,Spence
L. Spence
Louıse, Spence
Spence, Louise
L.,Spence
L. Spence
Louise, Spence

Job Title

Prof. Dr.

Email Address

Spence@khas.edu.tr

Full item page

Scholarly Output

13

Articles

3

Citation Count

0

Supervised Theses

3 Scholarly Output Search Results

Now showing 1 - 10 of 13

The Talking Witness Documentary: Remembrance and the Politics of Truth
(Routledge Journals Taylor & Francis Ltd, 2013) Spence, Louise; Spence, Louıse; Avci, Asli Kotaman
This 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.
Film as a Tool To Rewrite History: New Political Cinema in Turkey
(Kadir Has Üniversitesi, 2010) Paça Cengiz, Esin; Paça Cengiz, Esin; Spence, Louıse; Spence, Louise
In order to "construct" a national narrative, unsettling moments of Turkish history have been disavowed by the official discourse in Turkey. As a consequence, uneasy and therefore repressed knowledge of the past, which has not been appropriated as a part of the official discourse on national history, is finding its existence in cinematic representations. Along with the mainstream films in which the official discourses on history resonate, the growing interest in representing the past in cinema in Turkey has also resulted in the emergence of a new political cinema. This thesis argues that, unlike mainstream historical films which employ conventional narration strategies and propose that they are reinstalling the missing pieces in the national historical narrative, new political cinema in Turkey adopts an experimental form and remarks that history remains elusive and incomplete. By examining two recent films of the new political cinema in Turkey, Sonbahar / Autumn ( Özcan Alper, 2008) and Bulutları Beklerken / Waiting for the Clouds(Yeşim Ustaoğlu, 2004) this thesis suggests that new political films attempt to revise history and its narration by using cinematic means in an unprecedented way. And they incite their viewers to reflect on historical thinking and their relationship with it.
Pushing 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
This 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'.
Perspective Scholar Louise Spence on Comparing the Soap Opera To Other Forms
(Univ Press Mississippi, 2011) De Kosnik, Abigail; Spence, Louıse; Spence, Louise
[Abstract Not Available]
Forum: Visualizing History Visualizing Nation
(Routledge Journals Taylor & Francis Ltd, 2014) Spence, Louıse
[Abstract Not Available]
A Companion To the Historical Film
(CINEASTE, 2013) Spence, Louise; Spence, Louıse
[Abstract Not Available]
Visualizing the Past in Three Documentary Films
(Kadir Has Üniversitesi, 2013) Ozten, Nilgun; Spence, Louıse; Spence, Louise
The growing presence of subjects narrating their lived experiences in documentaries implies their involvement in the making of their own histories. This thesis explores this subjective dimension by examining the formal methods employed by filmmakers in documentaries in which personal stories are performed and/or narrated by subjects. -- Abstract'tan.
The Politics of Documentary
(CINEASTE, 2008) Behlil, Melis; Behlil, Melis; Spence, Louise; Spence, Louıse
[Abstract Not Available]
In Focus: Non-Western Historiography? Introduction
(Univ Texas Press, 2010) Guratai, Ahmet; Spence, Louıse; Spence, Louise
[Abstract Not Available]
Documentary Film: a Very Short Introduction
(CINEASTE, 2008) Behlil, Melis; Behlil, Melis; Spence, Louise; Spence, Louıse
[Abstract Not Available]