Browsing by Subject "Documentary"

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    90’lar basınında sansürün 32. Gün belgesel programı üzerinden incelenmesi
    (Bilkent University, 2024) Tuna, Yağmur; Deva, Mirata; Yılmaz, Muhammed Can; Dönmez, Tolga; Ertekin, İkra Aybüke
    Umur Birand, 1990’larda habercilik ve haber kaynaklarının kısıtlı olduğu dönemlerde geleneklere uymayan ve farklı metotlar vasıtası ile ün ve popülarite kazanmış olan 32. Gün Programının sahibi olup bu program ile özdeşleşmiş olan Mehmet Ali Birand’ın oğludur. 1990’ların karmaşık siyasi atmosferinde, 32. Gün Programına doğrudan etkisi olan 1994 yılında kurulan Radyo ve Televizyon Üst Kurulunun kuruluş aşaması ve Sansür Yasası’nın haber programlarına etkileri incelenecektir. Yanı sıra, 32. Gün belgeselinin 1990’lardan 2016 senesine kadar sürmüş olan yaşadıkları ve geçirdikleri zorluklar detaylı bir şekilde araştırılacaktır. Bu araştırmalarda dikkat edilecek önemli unsurlar ise 32. Gün Belgesel’ine yönelik toplumsal ve siyasi tepkilerin yanı sıra çeşitli kurumlar ve siyasetçiler tarafından uygulanan herhangi bir sansür girişimi incelenecektir. Ülke gündeminin toplumsal hafızada yer edinmesinde dikkat edilir rol oynayan 32. Gün’e uygulanan sansür veya kısıtlamaların, toplumsal hafızanın oluşum sürecine etkisi üzerine yoğunlaşılacaktır.
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    The portrayal of marijuana on vice.com documentaries
    (2017-09) Özsu, Gökçe
    This thesis aims to examine the representational attitude of vice.com (or VICE) documentaries covering marijuana, in the context of normalization. In this respect, this thesis mainly descriptively analyses three VICE documentaries covering marijuana in the setting of recreation, medicine and industry. VICE is a United States based media outlet which uses hybrid form of journalism combining conventional form of media operations and new media techniques. Normalization is a sociological concept for describing the the scale of social acceptance as a norm which was disseminated from the margins of the society towards mainstream scale. To implement descriptive analysis on vice.com documentaries, normalization and drug representation in the United States media has been evaluated in the socio-historical setting, and examined. As a major finding, even though vice.com documentaries represent marijuana as normal, the normative references of normalization of marijuana is not clear. In this respect, in the conclusion, the determiners and normative background of normalization of marijuana are tried to be discussed.
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    Portrayal of the palestinian-Israeli conflict: Egyptian, Jordanian, and Lebanese cinema between 2010-2018
    (2018-04) Nazzal, Seda
    This study scrutinizes the documentary portrayal of the Palestinian-Israeli conflict by its neighboring countries Egypt, Jordan, and Lebanon. Which participated in International Documentary Film Festival Amsterdam, International Dubai Film Festival, and Doha Tribeca Film Festival from 2010-2018. The research aligns with these three countries as there has been a shared history since 1948, with the establishment of the State of Israel. Along with the Israeli government's denial of the right to return to their homeland, which had conveyed the Palestinians into different parts of the world as refugees. Egypt, Jordan, and Lebanon had been the foremost host for the Palestinian refugees since then. Therefore, it is substantial to take a glimpse into the Palestinian-Israeli conflict from their point of view through documentaries. This analysis aspires to examine the political structure of the documentaries. Then, furthermore draw a pattern of how its neighboring countries portray the Palestinian experiences and prominent themes of Palestinian documentaries some of which are exile, trauma, struggle, and loss. With the framework that will analyze how the six documentaries that I have picked have a concern to create a political consciousness and encourage a local and global support for the Palestinian cause.
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    Televizyon yapımcılığından belgesel yönetmenliğine: Kürşat Özkök
    (Bilkent University, 2022) Ünsal, Beril; Fidan, Mert; Kamalı, Yelda; Eroğlu, Tuna Sevim
    Kürşat Özkök, kariyerinin büyük bir bölümünde TRT’nin çeşitli departmanlarında bir çok farklı görevi üstlenmiştir. Kariyeri boyunca koordinatörlük, belgesel yapımcılığı, program yapımcılığı, Eurovision delegasyon başkanlığı, televizyon dairesi başkanlığı gibi işlerde görev yapmış olan ÖzkÖzkök’ün tanınırlığınıtanınırlığının asıl sebebi, Zeki Müren’in içinde aktif bir şekilde rol aldığı ve kendi yaşamını seslendirdiği belgeselin yapımını üstlenmesidir. Batmayan Güneş Zeki Müren belgeseli, Özkök’ün kariyerini yeni bir seviyeye taşıdı. ÖzkÖzkök’ün kariyerindeki sıçramaya sebep olan bu önemli belgesel ve Eurovision delegasyon başkanlığı görevi gibi hizmetleri, kendisinin bu proje kapsamında araştırılmaya uygun görülmesini sağlamıştır.
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    The Voice as a narrative element in documentary films
    (University of California Press * Journals Division, 2021-03-01) Önen, Ufuk
    Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger’s Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries. KEYWORDS documentary, voice, narrative style, sound