Department of Graphic Design

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Browsing Department of Graphic Design by Author "Erdoğan, Nezih"

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    Das Fernsehen in der Turkei
    (Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.
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    Das Neue Turkishe kino
    (Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.
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    The making of our America: Hollywood in a Turkish context
    (BFI, 1999) Erdoğan, Nezih; Maltby, R.; Stokes, M.
    This chapter examines the ways in which American cinema was represented in Turkey in the 1940s and the evidence for the existence of a growing connection between American cinema and the popular Turkish imagination during this period. It is based on an analysis of the popular film magazines of the time, as well as the memoirs and observations of writers interested in cinema. Issues of audience demand, of course, pose questions about the cultural identities involved in the experiences of identification and fantasy enjoyed by the film viewer. After describing the historical context in which American cinematic hegemony was established, the chapter will consider some of the ways in which Hollywood itself functioned as a kind of fantasy screen for the Turkish viewer. It will also touch upon European cinema since – as becomes particularly clear in the memoirs of film historian Giovanni Scognamillo-the tension between America and Europe, and thus between Hollywood and European cinema, is crucial to the mental machinery at work in the viewers’ cinematic experience in its broadest sense.
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    Powerless signs: hybridity and the logic of excess of Turkish trash
    (Hampton Press, 2003) Erdoğan, Nezih; Ross, K.; Derman, D.
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    Turkish film
    (Routledge, 2001) Erdoğan, Nezih; Göktürk, D.; Leaman, O.
    Cinema, 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.