Browsing by Subject "National cinema"
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Item Open Access Breaking binaries : a critical approach to the fifth generation Chinese cinema(2008) Erdem, Chien YangHow to interpret the self-Orientalized representations in the Fifth Generation Chinese films remains an unresolved problem in cultural and film studies. This thesis underlines some of the major theoretical problems which have produced barriers for critical approaches to and understandings of the Fifth Generation phenomenon in Chinese cinema. By reconsidering the notion of power/knowledge in the Foucauldian sense, this work aims to challenge the assumed ontological relation between China and the West in rigid terms of binary oppositions and find an opening from this closure through which the complex and discursive interactions between the two can be critically examined. In this process of breaking the binaries, we are thus demanded to question the categories of culture, such as high vs. popular culture, art film vs. mass entertainment, etc., which take part in shaping our perceptual habits and interpretive politics.Item Open Access Cem Yılmaz and genre parody in Turkish national cinema(Taylor and Francis, 2020) Örsler, M. Mert; Kennedy-Karpat, ColleenCem Yılmaz has become nearly synonymous with Turkish comedy through comedies like Arif V 216 (2018). Taking this film as its focus, this article situates Yılmaz among his competitors while tracing his roots in Turkish entertainment by discussing his relationship to mid-twentieth-century Yeşilçam and to the meddah storytelling tradition. ©, Copyright Taylor & Francis.Item Open Access Outside in: ‘accented cinema’ at large(Routledge, 2006) Suner, A.This paper aims to engage in a critical analysis of the concept of ‘accented cinema’ recently developed by Hamid Naficy to refer to the emergent genre of exilic/diasporic filmmaking. Naficy’s theorization of ‘accented cinema’ in particular and discussions around exilic/diasporic cinema in general will be challenged on the basis of the observation that the cinematic styles and thematic preoccupations associated with exilic/diasporic films consistently appear also in wideranging examples of contemporary ‘world’ cinema that are often classified under the rubric of ‘national cinemas’. To illustrate this observation, the paper provides a parallel reading of three recent films – A Time for Drunken Horses (1999) by Kurdish-Iranian director Bahman Ghobadi, Happy Together (1997) by Hong Kong director Wong kar-wai, and Distant (2002) by Turkish director Nuri Bilge Ceylan – whose directors cannot possibly be considered as ‘exilic/diasporic’ in a conventional sense. Yet, it will be argued, the styles and thematic concerns associated with exilic/diasporic cinema manifestly prevail in all three films discussed in this paper as well as in many other examples of contemporary ‘world’ cinema. Departing from this observation, the paper will open up the new genre of ‘accented cinema’ to further questioning and suggest that unless the mutual entanglement between exilic/diasporic filmmaking and national cinema is disclosed, the notion of ‘accented cinema’ will not be sufficiently able to realize its critical potential.Item Restricted Türk sinemasına İslami bir soluk getiren ikili: Ali Osman Emirosmanoğlu ve Yücel Çakmaklı(Bilkent University, 2023) Özbey, Mustafa Enes; Oğlakcı, Halit; Elmas, Zeynep; Kızılateş, Umut; Ayrenk, Enes MalikBu araştırmada Türk sinemasında muhafazakârlık, sağ düşünce ve İslami temaların evrimini anlama süreci amaçlanmaktadır. Türk sinemasındaki muhafazakâr düşünce ve İslami temaların yer buluş süreci, 1960'lı yıllardan itibaren sinemanın toplumsal etkilerini, muhafazakâr düşüncenin yükselişini ve sinema ile bu düşünce arasındaki etkileşimi ele almaktadır. Ali Osman Emirosmanoğlu ve Yücel Çakmaklı'nın biyografileri, sinemaya katkıları ve İslami temaları işleyişi ile önemli eserlerinin detaylı analizi ve toplumsal sanatsal etkileri de değerlendirilmektedir.