Department of Graphic Design

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Open Access
Das Neue Turkishe kino
(Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.
Open Access
Das Fernsehen in der Turkei
(Babel Verlag, 1994) Erdoğan, Nezih; Şenocak, Z.
Open Access
Typologies in photography
(ODTÜ Mimarlık Fakültesi, 1994) İncirlioğlu, C. Güven
Certain trends in recent photographic art, their relation to the idea of typology and to architecture motivated the writing of this essay. Physiognomy, as the content of portrait photography and as an analogy for the nature of photographic images of any kind, is relevant to the issue of typology. The curatorial profession in the world of art aspires for interpreting, grouping and physically exhibiting a number of artworks by one or more artists, mostly around a theme or a relevant problematic, an issue. One such exhibition that I will refer here, which traveled the United states in 1991 and 1992, is called “Typologies: Nine Contemporary Photographers”, and was curated by Marc Freidus. Among the 'nine', more than half were German who made series of photographs of “types” (of buildings, interiors, people, streets, landscapes, etc.). Within this group are Bernd and Hilla Becher, a husband and wife team, of great significance for this essay.
Open Access
Narratives of resistance: national identity and ambivalence in the Turkish melodrama between 1965 and 1975
(Oxford University Press, 1998-10-01) Erdoğan, N.
Open Access
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.
Open Access
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.
Open Access
On rhythm, resonance, and distortion
(University of Warwick, 2003) Aracagök, Z.
Open Access
Whatever image
(The Johns Hopkins University Press, 2003) Aracagök, Z.
This essay can be seen as an attempt to foreground a new approach to representation with an outcome of a new concept, “whatever image.” This is undertaken by going through Benjamin’s handling of image via Leibniz in the prologoue of “German Tragic Drama” where he problematizes epistomolgy’s claim to truth by introducing his idea of constellations and thus opens up the question of a rigid, bounded image of the world to an immanence; Adorno’s theories in “Negative Dialectics”, concerning the image as the third term, as a screen, between subject and object, by way of which he introduces the question of “the resurrection of flesh” as far as the perception of the world in the form of images is concerned; and Giorgio Agamben’s concept of “whatever” in “The Coming Community” by means of which I attempt to introduce a “whateverness” to the concept of image which aims to open the question of image to “experience through flesh.”
Open Access
Powerless signs: hybridity and the logic of excess of Turkish trash
(Hampton Press, 2003) Erdoğan, Nezih; Ross, K.; Derman, D.
Open Access
Decalcomania, mapping and mimesis
(University of Nebraska Press, 2005) Aracagök, Z.
Open Access
Noise on noise
(Routledge, 2006) Aracagök, Zafer
[No abstract available]
Open Access
Turkey
(Schirmer Reference, 2006) Mutlu, Dilek K.; Grant, B. K.
Open Access
The Russian monument at Ayastefanos (San Stefano): between defeat and revenge, remembering and forgetting
(Routledge, 2007-01) K. Mutlu, D.
Open Access
The Midnight Express (1978) phenomenon and the image of Turkey
(Routledge, 2007-01) K. Mutlu, D.
Open Access
Up against the wall of the signifier: gegen die wand?
(Cambridge Scholar Press, 2008) Mutman, Mahmut; Christensen, M.; Erdoğan, Nezih
Open Access
On some umbrellas
(Routledge, 2008-09) Aracagök, Z.
Before I introduce the subject of this article, I should confess that its subject is the subject itself. The question of the subject always brings along a question of location and, therefore, a question of topology. Consequently, what we have here as a subject is a subject which does not conform to the rules of being a subject and hence this subject‐non‐subject demands an approach where topology and atopology should be put in a complementary relationship rather than an oppositional one. Without cutting the long word short, or without putting our subject under protection, or without opening what cannot be opened, we can at least say that our subject here is an umbrella, an umbrella which, being the subject of three different persons, can be seen, though only at the beginning, as the subject of that which incessantly echoes the question of localisability.
Open Access
Traditional toys at the present day
(2009) Akbulut, D.
The re-production of traditional toys at the present day both by industrial and traditional methods shows divergent design approaches. The materials used by traditional methods such as wood, clay, textile are substituted by plastics in industrial production. Apart from this, at the present day traditional toys are seen in the market as souvenirs and decorative items. In addition to the traditional and industrial interpretations, these toys are produced by informal sector with recycled materials and meet their customers on street peddles. The aim of this article is to investigate the design approaches in recent interpretations of traditional toys.
Open Access
Spectacle, speculative, spectile: situations in Sarah Kane, Sevim Burak, etc
(Routledge, 2010-07) Aracagök, Z.; Yalim, P. B.
Reconsidering the Situationist texts, mainly Guy Debord’s Society of the Spectacle, this article attempts to produce distinctions between the spectacle, the speculative and the ‘spectile’ via a reading of Deleuzian insistence that immanence should be created. Zigzagging between the texts of Sarah Kane and Sevim Burak, we suggest the urgency of ‘the spectile’ within the Deleuzian concept of ‘becoming‐woman’ if an immanence, including both arts and art criticism, is not to yield to a transcending transcendental; if criticism is to produce an immanence that is only immanent to itself.
Open Access
Between tradition and modernity: Yeşilçam melodrama, its stars, and their audiences
(Routledge, 2010-08) K. Mutlu, D.
Melodrama, the most popular genre of Yeşilçam cinema (1960s Turkish popular cinema), provides a useful source for unravelling the social contradictions and anxieties caused by the Turkish modernization/westernization process, in that the films both construct modernity as a desired state and criticize it as cosmetic westernization. Against this background, this article considers the images of Yeşilçam stars both as agents of the ambivalent discourse on modernity in films and as embodiments of truly modern/western lifestyles outside cinema. The article explores the social reception of the stars' off-screen images, based on letters published in two popular cinema magazines of the period. It is observed that rather than fully identifying with the stars' off-screen images and trying to escape to the ‘modern' attractive world of the stars, many audience members attempted to bring stars to their own world and back into the traditionalistic and moralistic universe of melodrama. The article interprets these attempts as ‘creative adaptations' through which audiences meet, negotiate, and appropriate modernity, of which the cinema and stars are part, in their own fashion.
Open Access
Beware of the Wolves! the Turkish versus the European reception of Valley of the Wolves (2006)
(Intellect, 2011-06) Smets, K.; K. Mutlu, D.; Winkel, R. V.