Browsing by Subject "Narrative"
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Item Open Access Architecture and cinema: analysis of the relationship between narrative and architectural space in Christopher Nolan’s the Dark Knight Trilogy(Bilkent University, 2020-11) Barut, BerinCinema’s invention in the 19th century has changed humans’ relationship with the built environment and introduced new possibilities of representing architectural spaces. Both architecture and cinema mediums concentrate on certain (common) notions such as space, time, narrative, editing and framing all of which contribute to the strong relationship the two disciplines have. The relationship between architecture and cinema is a two-directional one; both disciplines mutually influence and affect each other. This thesis suggests that the notions of space and narrative should be regarded as the most important elements of the relationship architecture and cinema have since they encapsulate other notions mentioned and, in order to fully realize this relationship, these two notions should be analyzed in relation to each other in detail. Cinematic narrative and architectural space represented in film constantly influence each other; any change in the narrative affects the representation of space and employment of a certain space alters the cinematic narrative. In order to analyze this relationship, this thesis concentrates on how architectural spaces and cinematic narrative mutually influence each other via a close analysis of The Dark Knight Trilogy. As a result of the analysis conducted, it is found out that space and narrative have a strong and twodirectional relationship: the cinematic narrative has the power to infiltrate into architectural space represented in the film and, as a result of this, alters the meaning of the space represented. Moreover, this situation contributes to the narrative and is used to highlight certain narrative concerns within the film.Item Open Access Bilge Karasu yazının'da "Yerin Ruhu" : göçmüş kediler bahçesi'nin anlatı dünyaları(Bilkent University, 2015) Şahin Yeşil, SinemThis thesis uses the narratological method to examine the thirteen stories of Bilge Karasu‟s collection The Garden of Departed Cats. In the analysis of the stories, the spatial dimension of the narrative has been especially taken into consideration. In the thesis, the three basic questions focused on are as follows: How has space been designed in the stories? What is the contribution made to the plot by the fictitious worlds that result from this design? What is the impact of the narrated worlds on the narrated characters and on readers? Assessing this work from the standpoint of spatial dimensions reveals interesting results, the most important of which are the deep meanings built up by Karasu upon fluctuating degrees of spacing. The author, by means of distances, zooms in and out on such binary oppositions as “I” and “the other” in search of the possibility of the unification of differences. As such, spaces of encounter and reunion are created between the “there” in sociological, psychological, and ontological terms and all that is “the other”. These spaces, which can be considered “liminal” grounds, are, within the story, the Garden and, beyond the story, the text itself.Item Open Access The image of science in Mythbusters(Bilkent University, 2009) Yıkılgan, FulyaThe aim of this thesis is to study how the television show MythBusters constructs an image of science in terms of its narrative components and connotations. It is argued that, MythBusters portrays science as an appealing activity but its way is controversial. While positioning science as a joyful, beneficial and understandable phenomenon, MythBusters reinforces its objectivity and patriarchy, associates it with violence and blurs the line between scientific curiosity with any other type.Item Open Access Narrating the prison: master and counternarratives of the 1980 military coup(Bilkent University, 2022-09) Şensönmez, GökhanBased on 344 written autobiographical accounts of erstwhile prisoners, this dissertation examines carceral counternarratives in the memory of the 1980 military coup in Turkey. At the outset, I argue that although the junta’s initial narrative reversed with the emergence of an anti-coup wave in the following decades, the dominant conception of prisons as a place of decimating political actors endured. The three counternarratives examined in this study, narrate prison not as a place of decimation, but as a place of strengthening and discovery. According to the militant counternarrative that was employed by the members of radical leftist organizations, the post-coup prisons were valuable in the sense that they tested the discipline of organizations, and eliminated the false revolutionaries. For the gendered counternarrative employed by the women of the Turkish left, women discovered their identities in prisons as the coup brought them together and disrupted the masculine domination of the leftist organizations. Finally, for the religious rebirth counternarrative which was employed by the Ülkücü militants, prisons were evaluated as places to discover Islam and find meaning in their shocking incarceration.Item Open Access Narratives of focal brain injured individuals: A macro-level analysis(Elsevier Ltd, 2017) Karaduman, A.; Göksun, T.; Chatterjee, A.Focal brain injury can have detrimental effects on the pragmatics of communication. This study examined narrative production by unilateral brain damaged people (n=36) and healthy controls and focused on the complexity (content and coherence) and the evaluative aspect of their narratives to test the general hypothesis that the left hemisphere is biased to process microlinguistic information and the right hemisphere is biased to process macrolinguistic information. We found that people with left hemisphere damage's (LHD) narratives were less likely to maintain the overall theme of the story and produced fewer evaluative comments in their narratives. These deficits correlated with their performances on microlinguistic linguistic tasks. People with the right hemisphere damage (RHD) seemed to be preserved in expressing narrative complexity and evaluations as a group. Yet, single case analyses revealed that particular regions in the right hemisphere such as damage to the dorsolateral prefrontal cortex (DLPFC), the anterior and superior temporal gyrus, the middle temporal gyrus, and the supramarginal gyrus lead to problems in creating narratives. Our findings demonstrate that both hemispheres are necessary to produce competent narrative production. LHD people's poor production is related to their microlinguistic language problems whereas RHD people's impaired abilities can be associated with planning and working memory abilities required to relate events in a narrative. © 2017 Elsevier LtdItem Open Access Passing ethnic identities : a case study on comedy in Turkish cinema(Bilkent University, 2014) Deliormanlı, EceThis study analyzes minority representation strategies in Turkish cinema, particularly Kurds in mainstream comedies. In the study passing is taken into account as a representation strategy that was developed and sustained by the dominant ideology in order to maintain ethnic inequalities in a society. Study examines how minority representations are created by majority through different discourses and how Kurdishness contextually either exaggerated or lessened by passing strategies of the mainstream Turkish cinema to privilege one ethnicity, Turkishness, over the other(s).Item Open Access Repetition in film form the case of Kim Ki-Duk(Bilkent University, 2015) Akyel, EsmaThis thesis mainly deals with repetition in film form. Repetition which is a key concept shows itself in many different forms. In philosophy there are several perceptions at stake. In art forms in which it is structured systematically repetition is one of the basic elements. As for film form, there are concepts that help us to understand the function of it. The basic concern of this thesis is constructing three basic repetition types by grounding on the perceptions of repetition in philosophy by also using basic concepts of repetition in film form. These types of repetitions in film form are specified as informative, constructive and poetic repetitions. As the case study, the films of Kim Ki-duk who is an amateur-auteur director with a unique cinematic style are analyzed on the ground of these constructed types.Item Open Access Villain or hero? Shifting views of Abdülhamid II and his era in republican Turkey(Brill, 2022-10-22) Grigoriadis, Ioannis N.Narratives and representations of the past in the present sometimes tell us more about the present than the past itself. Views of Ottoman history have varied in republican Turkey, according to political and ideological circumstances. The era of Sultan Abdülhamid ii has remained one of the most contested ones. While classic republican Turkish historiography has identified the Hamidian era with Oriental despotism, blamed it for the collapse of the Ottoman Empire, but exonerated it for the killings of Armenians, recent historical interest in the era has been revisionist. Some scholars offer a more balanced evaluation of the Hamidian period, while other approaches move to the opposite extreme, aggrandizing Sultan Abdülhamid ii and his era and also pointing to alleged Young Turk treason. These approaches have coincided with a re-evaluation of the ideological foundations of republican Turkey and the re-emergence of a cult of personality in mainstream Turkish politics.Item Unknown The Voice as a narrative element in documentary films(University of California Press * Journals Division, 2021-03-01) Önen, UfukModern 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