Turkish film

dc.citation.epage573en_US
dc.citation.spage532en_US
dc.contributor.authorErdoğan, Nezihen_US
dc.contributor.authorGöktürk, D.en_US
dc.contributor.editorLeaman, O.
dc.date.accessioned2019-05-13T13:30:37Z
dc.date.available2019-05-13T13:30:37Z
dc.date.issued2001en_US
dc.departmentDepartment of Graphic Designen_US
dc.descriptionChapter 9en_US
dc.description.abstractCinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the West being projected onto the screen, but also for the conditions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resistance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past.en_US
dc.identifier.doi10.4324/9780203426494en_US
dc.identifier.eisbn9780203426494
dc.identifier.isbn9780415187039
dc.identifier.urihttp://hdl.handle.net/11693/51231
dc.language.isoEnglishen_US
dc.publisherRoutledgeen_US
dc.relation.ispartofCompanion encyclopedia of Middle Eastern and North African filmen_US
dc.relation.isversionofhttps://doi.org/10.4324/9780203426494en_US
dc.titleTurkish filmen_US
dc.typeBook Chapteren_US
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