Özgür Çalışkan, Ph.D., completed his BA degree at Bahçeşehir University, Department of Cinema and Television with a full scholarship, MA degree at Digital Culture Program, Jyvaskyla University in Finland, and Ph.D. at Anadolu University, Department of Cinema and Television, where he has been working since 2012 and is currently an assistant professor. Çalışkan has participated in exchange programs at the University of Ulster and the University of Ljubljana and has been a guest lecturer at the Polytechnic University of Valencia. Since 2012, he has been a member of the Executive Board of the International Eskişehir Film Festival. He publishes and lectures on cinematic narrative, screenwriting, film genres, science fiction, identity, and digital technologies. His most recent work is "Retro Dystopia in Turkish Cinema: A Mouthless Girl in the Shadows Speaks Through the Antenna", published in Science Fiction Film and Television. Supervisors: D. Alper Altunay and Raine Koskimaa
The film elements, especially in documentary or essay films, carry the director's point of view m... more The film elements, especially in documentary or essay films, carry the director's point of view more prominently. A Dog Called Money (2019) is a film with essayistic and documentary features by photographer Seamus Murphy about the creation process of English musician PJ Harvey's album, The Hope Six Demolition Project. The film focuses on the artists' journey in Afghanistan, Kosovo, and Washington, DC, and the album's production process, which takes place in a live museum exhibition. Murphy uses visual narrative, while Harvey takes on the textual and auditory narrator role with voice-over, text, and music. Therefore, this study analyses the textual and audio-visual features of the documentary film that reflect the selfrepresentation of both artists. The representation form created by the multiple narrators that the film's narrative varies between the essay and the documentary genre is interpreted in the context of image, sound, and text.
Generally speaking, the sf genre historically manifested in Turkish cinema through low-budget ada... more Generally speaking, the sf genre historically manifested in Turkish cinema through low-budget adaptations of Hollywood narratives with local characters and stories. After the 1990s, however, Turkish cinema explored original narratives, especially sf texts where the comedic and dramatic modes dominated. Moreover, an increasing number of original sf and dystopian films have been produced in Türkiye in the last decade in accordance with increased technology and the globalization of the contemporary moment. This article analyzes the dystopian films Girl with No Mouth (2019), The Antenna (2019), and In the Shadows (2020) to discuss the historical relationship of Turkish cinema with sf in the context of the genre’s cinematic language regarding technology, culture, utopia, dystopia, and disaster. As a result, the features of the concept of the “retro dystopia” and its relationship with these films are revealed.
A dynamic relationship exists between a film/series and the viewer, and genres have an essential ... more A dynamic relationship exists between a film/series and the viewer, and genres have an essential place in this relationship. Significantly, the experience of watching films and television series, which is gradually changing, also provides more detail regarding this relationship. Since the COVID-19 pandemic in 2020, the viewing experience has changed, primarily through digital platforms. However, the viewer's tendency to use digital platforms provides more specific data. In this study, using data of genres watched on Netflix Türkiye between 2020 and 2021, which was obtained from FlixPatrol, was analyzed in the context of genres and viewer emotions. Türkiye's data for 2020 and 2021 and the full closure period between April 29 and May 14, 2021 were also examined. Furthermore, movie genres were analyzed quarterly and on a general basis, and the viewing rates of genres in the Top 10 were also interpreted. Numerical data were interpreted qualitatively in the context of genre and cognitive theories.
ARTS: Artuklu Journal of Arts and Humanities, Dec 1, 2022
Technology has affected the way cinema is produced and consumed. One of these effects is the tran... more Technology has affected the way cinema is produced and consumed. One of these effects is the transfer of film production and consumption to mobile devices. Mobile phones with vertical screens are not only a means of communication but are also involved in film production and consumption. Given this situation, visual content production for the vertical screen has also increased. This study examines the field of short films produced with vertical framing, which has been increasing, especially in the last decade. For this purpose, the content, form, and characteristics of vertical narrative in short films are revealed by analyzing short films in online festivals organized in the field of vertical short films. The study analyzes the common features of fifty short films and discusses the effects of digital transformation on short films as vertical narratives in the context of narrative form, framing techniques, and camera movements.
Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky ... more Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky Albertalli's novel Simon vs. the Homo Sapiens Agenda (2015) about the email correspondence between Simon and another male student from his high school. Digital correspondence and Simon's voiceovers form the backbone of the storytelling. Comparing the book and the film, with a particular focus on the written form of communication and the narrator's inner voice, one can observe differences between the textual and visual forms, especially when considering the narrative line. This paper examines how the novel as a text centered on digital correspondence is transformed in the film adaptation. The paper aims to reveal how the role of the narrator changes from novel to film in the context of Plato's mimesis and diegesis. The similarities and differences between the use of text through the narrative line are analyzed within the scope of adaptation theory and poststructuralist textual analysis, and the transformation of mimetic and diegetic epistolary storytelling into diegetic and non-diegetic speeches, sounds and visuals in the film universe. As a result, it has been revealed that the film has mega-textual features in the context of adaptation and correspondence, that it has been adapted to the film without losing the characteristics of the story through intertextuality, that it stands at a point of transmission, that it successfully visualizes the anonymity in correspondence, and that it carries the plot and the identity of the characters to the visual dimension.
ÖZET Ahlak ile siyaset ilişkisi modern toplumla birlikte daha çok yakınlaşan bir sürece girmiş ve... more ÖZET Ahlak ile siyaset ilişkisi modern toplumla birlikte daha çok yakınlaşan bir sürece girmiş ve bireyden topluma, ahlak ile siyaset birbiriyle paralel gelişmeler göstermiştir. Özellikle bireyin ahlak ile siyaset arasında kurduğu ilişki toplum içerisinde daha çok yansımalar bularak kendini belirgin hale getirmiştir. Modern toplumdaki bireyin hem ahlak anlayışını hem de siyasi düşüncesini sunduğu alan olarak kamusal alan ön plana çıkarken, günümüzde fiziksel kamusal alanın dışında internet ortamı da birey ve toplum için önem kazanmıştır. Bu çalışma, Türkiye'de son dönemde kullanımı yaygınlaşan sosyal medya ortamı olarak Twitter'daki bireylerin siyasi söylemlerinde ahlak kelimesini siyaset ile nasıl ilişkilendirdiğini ortaya koymayı amaçlamaktadır. Bu bağlamda, ahlak kavramının hangi farklı anlamlarda siyasileştirildiği durumunun saptanması, günümüz toplumunda ahlak ve siyaset ilişkisinin nasıl şekillendiği ve bununla birlikte, sosyal medya ortamının bu ilişkinin değişiminde ...
LGBTI groups in Turkey glided from offline media to online media. This study investigates how the... more LGBTI groups in Turkey glided from offline media to online media. This study investigates how the LGBTI movement changed utilizing social networking sites (SNS) and what kind of a communication culture has been established in the context of social movements of this transformation caused by SNS in Turkey. Triangulation methodology is used in this paper. Semi-structured interviews were performed with the administrators of LGBTI movement communities’ Facebook and Twitter pages, an online questionnaire was made with the page followers, and a non-reactive observation was made concerning SNS posts of the pages during Pride Week, which is the most important annual public sphere event of the movement. Communication practices that SNS provide to the LGBTI movement groups and use of these practices are interpreted and analyzed through collected data. This study has shown that the LGBTI movement in Turkey uses SNS as a space of action effectively with collective action, centralizes SNS with their actions and moves the new social movements’ features to the Internet as a way of enhancing its exposure in the public sphere.
Since technology invaded human life, there has been a strong relationship between humans and mach... more Since technology invaded human life, there has been a strong relationship between humans and machines. In this relationship, similar to other relationships in which humans are involved, there are emotions. When technology brings irresistible innovations and creates a multi-mediated environment, it becomes more difficult to reject the materiality of technology. In time, the acceptance of machines into life has created a new society which cannot exist without machines, and the individual's life in this new society has become dependent on machines. For some individuals, this interdependence may become an enthusiasm and even addiction, intentionally or unintentionally. Technophilia and technophile are useful burgeoning terms to describe the devotion of humans to new technologies and other technological inventions. This content-based descriptive paper aims to study technophilia in the context of technological reductionism. The research includes examples from science-fiction cinema and Hatsune Miku (virtual pop singer) with the concept of technium. The paper explores the term technophilia from the cultural perspective for relationship between human and machines, presenting this new notion as the element of human identity.
Every film genre has its own ideological set of rules and every film that belongs to its genre fo... more Every film genre has its own ideological set of rules and every film that belongs to its genre follows those rules to strengthen ideological perspective and features of the genre. For this matter, in producing blockbuster films, science fiction is a genre in which it is possible to combine the ideological discourse with the elements of popular culture under the audio-visual narrated representation of cinema. TRON has a specific place in the history of science-fiction cinema because it is computer-generated animation and claims an alternative world, not a future world, where machines oppose humankind, like many other science-fiction films do. After 28 years, as the sequel of the first one, TRON: Legacy has been released and it represents a new alternative world following all developments in the real world. This paper, firstly, explains the cinematographic features of both films in terms of visual and narrative structure. Secondly, the paper analyses TRON: Legacy film comparing with the first one to discuss the relation between ideology and cinema, especially science-fiction genre. Finally, the paper aims to explain differences and similarities between ideological society of the digital world in the film and the non-fictional world. For the paper, qualitative descriptive film analysis method is used to understand the visual and narrative structure relating to theoretical background. It demonstrates that persistence of ideology is in every environment in which humankind exists through blockbuster science fiction film sequel of TRON. ______________________________________________________________________________________________________________Her film türü kendi ideolojik kurallarına sahiptir ve o film türündeki her film ideolojik bakış açısını güçlendirmek için bu kuralları takip eder. Büyük gişe hasılatına sahip film türlerinden biri olan bilim kurgu, ideolojik öğeleri ile popüler kültür öğelerini sinemanın görsel ve işitsel anlatımı içerisinde birleştirmektedir. Bilgisayar aracılığıyla üretilen bir animasyon filmi olmasından dolayı TRON filmi bilim kurgu sineması tarihinde önemli bir yere sahiptir. Bununla birlikte film, alışılagelen makinelerin insanlara karşı olduğu gelecek dünyayı değil alternatif bir dünyayı anlatmaktadır. 28 yıl sonra, ilk filmin devamı olarak çekilen TRON Efsanesi teknolojik gelişmeler ışığında yeni bir alternatif dünyayı temsil etmektedir. Bu çalışma, her iki filmin sinematografik özelliklerini görsel ve anlatısal olarak açıklamakta ve TRON Efsanesi filmini TRON filmiyle karşılaştırarak özellikle bilim kurgu türü özelinde sinema ve ideoloji ilişkisini ortaya koymaktadır. Çalışmanın amacı, filmin dijital dünyasındaki ile gerçek dünyadaki ideoloji toplumun benzerliklerini ve farklılıklarını açıklayabilmektir. Çalışmada, görsel ve anlatısal yapıyı anlamak amacıyla kuramsal kısımla bağlamsal olarak betimsel durum analizi yöntemi kullanılmıştır. Sonuç olarak, çalışma ideolojinin insanın varolduğu her ortamda bulunduğunu sinemadan destek alarak TRON Efsanesi filmi üzerinden ortaya koymayı amaçlamaktadır.
As a film genre, Science-Fiction (SF) is unique with its predictions about the future. Especially... more As a film genre, Science-Fiction (SF) is unique with its predictions about the future. Especially, the relation of technology and human in the future is one of the main themes of SF films. SF films bring us the ideas to discuss how human body and identity will or might be affected by technology and machines. As a group of films describe the human and technology relation positively, another group of films draws a dystopian future of the relation. These both groups of films use human body and identity as surfaces to emphasize their predictions and considering these surfaces, mind and memory are the ones which come forward as the parts of human identity affected by technology. Therefore, this paper aims to understand how the prediction of SF films about mind and memory alteration by technology has been actualized. For this reason, chosen SF films by purposive sampling (Brazil, Colossus: the Forbin Project, Johnny Mnemonic, Minority Report, Sleep Dealer) are analyzed using qualitative film analysis and the results of the analysis are used for comparative analysis which includes films’ and today’s worlds on mind/memory and technology relation. As a result, the paper suggests that today’s human memory and mind alters to what SF films estimate, emphasizing the alteration is not complete yet, however, it breathes down the future’s neck.
Global Media Journal: Turkish Edition, Oct 25, 2013
"The relation between moral and politics has been closer in modern society and from individual to... more "The relation between moral and politics has been closer in modern society and from individual to society, moral and politics has parallel developments. Especially, the relation that individual created between moral and politics has been more significant because of the reflections in society. Public sphere has become an area for individual of modern society to present understanding of one’s moral and political opinion. For the same reason, in today’s society, Internet also has become important for individuals. This paper aims to study how individuals in Turkey use moral as a word in political context and statement in Twitter. To find answers for the questions; what the differentiations are politicization of concept of moral, how the moral concept is formed through politics, and in addition how social media affects changing relation of moral and politics are additional aims of this study. As the method of this study, qualitative textual analysis is used and for this method stratified purposeful sampling is chosen to apply. Time period of the study is decided according to the time of the study and also current news agenda between 12 – 17 December 2012. On 12th December, a government minister declared issue about abortion and on 17th December ÖSYM declared that there will be question on LYS exam from the Culture of Religion and Ethics lecture. Therefore, word of moral is searched on Twitter between 12 – 17 December 2012 and 4431 tweets found as the results. Among the results, using chosen sampling method, tweets that are related with the theoretical background are analyzed. Titles such as duty of moral, the relation between moral, politics and happiness, the sexuality of moral and politics, moral religion and political religion formed the results of findings part.
This paper discusses the process of how human body and identity has become hybrid of human and ma... more This paper discusses the process of how human body and identity has become hybrid of human and machine being affected by technology and how this alteration has been materialized from science-fiction cinema to the post-industrial society. The term “techno-human” is used to define this new hybrid version of the human including implanted bodies, artificial organs, prosthesis, digital identities and avatars.
Artificial intelligence has recently entered the field of cinema, as have many other fields. Inno... more Artificial intelligence has recently entered the field of cinema, as have many other fields. Innovative uses of AI-generated content are also observed in the field of scriptwriting. This study examines how the rhetoric in Turkish and English film dialogues generated by AI has differences or similarities in culture and language. In addition, by emphasizing the integration of storytelling and artificial intelligence, the study also aims to underline the importance of preserving linguistic diversity and cultural authenticity in cinematic narratives. In the context of the theoretical framework, this study examines the ability of AI to incorporate culturally relevant expressions, idioms, and rhetorical styles in dialogues. This is done through a qualitative textual and rhetorical comparison of AI-generated dialogues with traditional narrative and common stage themes. The findings may reveal the effectiveness of AI in generating culturally sensitive and nuanced dialogues but may also highlight its limitations in capturing the subtleties of language and culture. Such insights also re-emphasize the irreplaceable role of human creativity in filmmaking. By critically examining the role of AI in screenwriting, this study encourages the examination and discussion of the interplay between AI and human creativity. It seeks to understand how technology and creativity combine in cinematic storytelling.
Science fiction cinema is usually associated with the future is a phenomenon from the past, but n... more Science fiction cinema is usually associated with the future is a phenomenon from the past, but now this situation has become debatable. In particular, the emergence of science fiction narratives describing the past has brought this situation to an area that needs to be understood. In this context, nostalgia, which has become popular lately, implies a more profound meaning as it deals with positive and negative relationships with time and space rather than being just a trend (Niemeyer 2014, 2). Since science fiction narratives often create temporal and spatial confusion, common aspects of nostalgia and science fiction emerge. In addition, nostalgia involves "distancing and proximating"; it brings the illusory past closer and takes us out of the present, allowing "the simple, pure, ordered, easy, beautiful and harmonious" past to be reconstructed in the context of the present, making present appear more "complicated, contaminated, anarchic, difficult, ugly and confrontational" (Hutcheon 1998, 20). For this reason, nostalgic science fiction that tells about the past, present, and future, especially when the time travel theme is considered, can also contain the "distancing and proximating" features of nostalgia. In the light of these, this study aims to analyze the Turkish comedy-science fiction film Arif V 216 (Kıvanç Baruönü, 2018) in the context of cinematic nostalgia. The film is about 216’s –an android- traveling to Istanbul from the planet G.O.R.A. to find true love. When he arrives in today’s Istanbul, 216 and Arif have to travel to 1969, an era of nostalgic Turkish cinema called the Green Pine [Yeşilçam]. As 216 reaches his imagined nostalgic time of love and human relationship, the dual try to adapt to this new era, and when they return to the present, they find that everything has changed. The film’s plot uses nostalgic elements of Turkish culture from the 1960s but also the 1990s. Further, the film references other well-known Turkish movies and science fiction films such as Terminator in scenes and dialogues. Therefore, the film's narrative is a parody of nostalgia using a science fiction plotline. For this reason, this paper aims to understand the nostalgic effect and how it is used to create a comedy-science fiction subgenre. Also, significantly, referring to nostalgic texts of the Turkish cinema, how it may change the future animating different realities and nostalgic past. As a result, the science fiction film narrative is formed through comedy by reinforcing the nostalgic Turkish cinema and its narrative through embellishments and contrasts such as good-bad, old-new, and past-present. ///////////////////////Works Cited////////////////////// Hutcheon, L & Valdes, M. J. 1998. Irony, Nostalgia, and the Postmodern: A Dialogue. Poligrafias (3), 18-41. http://www.revistas.unam.mx/index.php/poligrafias/article/view/31312 /////////////// Niemeyer, K. 2014. Introduction: Media and Nostalgia. In Media and Nostalgia Yearning for the Past, Present and Future, edited by Katharina Niemeyer, 1-26. London: Palgrave Macmillan.
In today’s global pandemic situation, there are many lists on the Internet about movies that deal... more In today’s global pandemic situation, there are many lists on the Internet about movies that deal with pandemics, and these usually include Hollywood cinema and movies in English. However, considering the epidemic to be a global problem, it is essential to understand different storytelling on the subject outside of Hollywood and non-English cinema. This study focuses on two non-Hollywood and non-English movies that use the pandemic as a subject matter, made in the 2010s, and are on most of the listings. These purposefully chosen films are Flu (Sung-su Kim, 2013, South Korea) and Virus (Aashiq Abu, 2019, India) as these two Asian films become prominent on the recent online lists. This study aims to understand a different way of storytelling through pandemic as a subject matter other than Hollywood and English movies. In the study, firstly, the subject of pandemic and cinema is discussed and then selected two movies are analyzed to explain what the pandemic is about in a particular or new way. The approaches of dealing with the pandemic, where and how the pandemic takes place in the narration, what the situation and events mean for the main characters, and also the reaction of the countries to the pandemic process on the films are discussed.
The film elements, especially in documentary or essay films, carry the director's point of view m... more The film elements, especially in documentary or essay films, carry the director's point of view more prominently. A Dog Called Money (2019) is a film with essayistic and documentary features by photographer Seamus Murphy about the creation process of English musician PJ Harvey's album, The Hope Six Demolition Project. The film focuses on the artists' journey in Afghanistan, Kosovo, and Washington, DC, and the album's production process, which takes place in a live museum exhibition. Murphy uses visual narrative, while Harvey takes on the textual and auditory narrator role with voice-over, text, and music. Therefore, this study analyses the textual and audio-visual features of the documentary film that reflect the selfrepresentation of both artists. The representation form created by the multiple narrators that the film's narrative varies between the essay and the documentary genre is interpreted in the context of image, sound, and text.
Generally speaking, the sf genre historically manifested in Turkish cinema through low-budget ada... more Generally speaking, the sf genre historically manifested in Turkish cinema through low-budget adaptations of Hollywood narratives with local characters and stories. After the 1990s, however, Turkish cinema explored original narratives, especially sf texts where the comedic and dramatic modes dominated. Moreover, an increasing number of original sf and dystopian films have been produced in Türkiye in the last decade in accordance with increased technology and the globalization of the contemporary moment. This article analyzes the dystopian films Girl with No Mouth (2019), The Antenna (2019), and In the Shadows (2020) to discuss the historical relationship of Turkish cinema with sf in the context of the genre’s cinematic language regarding technology, culture, utopia, dystopia, and disaster. As a result, the features of the concept of the “retro dystopia” and its relationship with these films are revealed.
A dynamic relationship exists between a film/series and the viewer, and genres have an essential ... more A dynamic relationship exists between a film/series and the viewer, and genres have an essential place in this relationship. Significantly, the experience of watching films and television series, which is gradually changing, also provides more detail regarding this relationship. Since the COVID-19 pandemic in 2020, the viewing experience has changed, primarily through digital platforms. However, the viewer's tendency to use digital platforms provides more specific data. In this study, using data of genres watched on Netflix Türkiye between 2020 and 2021, which was obtained from FlixPatrol, was analyzed in the context of genres and viewer emotions. Türkiye's data for 2020 and 2021 and the full closure period between April 29 and May 14, 2021 were also examined. Furthermore, movie genres were analyzed quarterly and on a general basis, and the viewing rates of genres in the Top 10 were also interpreted. Numerical data were interpreted qualitatively in the context of genre and cognitive theories.
ARTS: Artuklu Journal of Arts and Humanities, Dec 1, 2022
Technology has affected the way cinema is produced and consumed. One of these effects is the tran... more Technology has affected the way cinema is produced and consumed. One of these effects is the transfer of film production and consumption to mobile devices. Mobile phones with vertical screens are not only a means of communication but are also involved in film production and consumption. Given this situation, visual content production for the vertical screen has also increased. This study examines the field of short films produced with vertical framing, which has been increasing, especially in the last decade. For this purpose, the content, form, and characteristics of vertical narrative in short films are revealed by analyzing short films in online festivals organized in the field of vertical short films. The study analyzes the common features of fifty short films and discusses the effects of digital transformation on short films as vertical narratives in the context of narrative form, framing techniques, and camera movements.
Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky ... more Love, Simon (2018) is an American comedy-drama film directed by Greg Berlanti and based on Becky Albertalli's novel Simon vs. the Homo Sapiens Agenda (2015) about the email correspondence between Simon and another male student from his high school. Digital correspondence and Simon's voiceovers form the backbone of the storytelling. Comparing the book and the film, with a particular focus on the written form of communication and the narrator's inner voice, one can observe differences between the textual and visual forms, especially when considering the narrative line. This paper examines how the novel as a text centered on digital correspondence is transformed in the film adaptation. The paper aims to reveal how the role of the narrator changes from novel to film in the context of Plato's mimesis and diegesis. The similarities and differences between the use of text through the narrative line are analyzed within the scope of adaptation theory and poststructuralist textual analysis, and the transformation of mimetic and diegetic epistolary storytelling into diegetic and non-diegetic speeches, sounds and visuals in the film universe. As a result, it has been revealed that the film has mega-textual features in the context of adaptation and correspondence, that it has been adapted to the film without losing the characteristics of the story through intertextuality, that it stands at a point of transmission, that it successfully visualizes the anonymity in correspondence, and that it carries the plot and the identity of the characters to the visual dimension.
ÖZET Ahlak ile siyaset ilişkisi modern toplumla birlikte daha çok yakınlaşan bir sürece girmiş ve... more ÖZET Ahlak ile siyaset ilişkisi modern toplumla birlikte daha çok yakınlaşan bir sürece girmiş ve bireyden topluma, ahlak ile siyaset birbiriyle paralel gelişmeler göstermiştir. Özellikle bireyin ahlak ile siyaset arasında kurduğu ilişki toplum içerisinde daha çok yansımalar bularak kendini belirgin hale getirmiştir. Modern toplumdaki bireyin hem ahlak anlayışını hem de siyasi düşüncesini sunduğu alan olarak kamusal alan ön plana çıkarken, günümüzde fiziksel kamusal alanın dışında internet ortamı da birey ve toplum için önem kazanmıştır. Bu çalışma, Türkiye'de son dönemde kullanımı yaygınlaşan sosyal medya ortamı olarak Twitter'daki bireylerin siyasi söylemlerinde ahlak kelimesini siyaset ile nasıl ilişkilendirdiğini ortaya koymayı amaçlamaktadır. Bu bağlamda, ahlak kavramının hangi farklı anlamlarda siyasileştirildiği durumunun saptanması, günümüz toplumunda ahlak ve siyaset ilişkisinin nasıl şekillendiği ve bununla birlikte, sosyal medya ortamının bu ilişkinin değişiminde ...
LGBTI groups in Turkey glided from offline media to online media. This study investigates how the... more LGBTI groups in Turkey glided from offline media to online media. This study investigates how the LGBTI movement changed utilizing social networking sites (SNS) and what kind of a communication culture has been established in the context of social movements of this transformation caused by SNS in Turkey. Triangulation methodology is used in this paper. Semi-structured interviews were performed with the administrators of LGBTI movement communities’ Facebook and Twitter pages, an online questionnaire was made with the page followers, and a non-reactive observation was made concerning SNS posts of the pages during Pride Week, which is the most important annual public sphere event of the movement. Communication practices that SNS provide to the LGBTI movement groups and use of these practices are interpreted and analyzed through collected data. This study has shown that the LGBTI movement in Turkey uses SNS as a space of action effectively with collective action, centralizes SNS with their actions and moves the new social movements’ features to the Internet as a way of enhancing its exposure in the public sphere.
Since technology invaded human life, there has been a strong relationship between humans and mach... more Since technology invaded human life, there has been a strong relationship between humans and machines. In this relationship, similar to other relationships in which humans are involved, there are emotions. When technology brings irresistible innovations and creates a multi-mediated environment, it becomes more difficult to reject the materiality of technology. In time, the acceptance of machines into life has created a new society which cannot exist without machines, and the individual's life in this new society has become dependent on machines. For some individuals, this interdependence may become an enthusiasm and even addiction, intentionally or unintentionally. Technophilia and technophile are useful burgeoning terms to describe the devotion of humans to new technologies and other technological inventions. This content-based descriptive paper aims to study technophilia in the context of technological reductionism. The research includes examples from science-fiction cinema and Hatsune Miku (virtual pop singer) with the concept of technium. The paper explores the term technophilia from the cultural perspective for relationship between human and machines, presenting this new notion as the element of human identity.
Every film genre has its own ideological set of rules and every film that belongs to its genre fo... more Every film genre has its own ideological set of rules and every film that belongs to its genre follows those rules to strengthen ideological perspective and features of the genre. For this matter, in producing blockbuster films, science fiction is a genre in which it is possible to combine the ideological discourse with the elements of popular culture under the audio-visual narrated representation of cinema. TRON has a specific place in the history of science-fiction cinema because it is computer-generated animation and claims an alternative world, not a future world, where machines oppose humankind, like many other science-fiction films do. After 28 years, as the sequel of the first one, TRON: Legacy has been released and it represents a new alternative world following all developments in the real world. This paper, firstly, explains the cinematographic features of both films in terms of visual and narrative structure. Secondly, the paper analyses TRON: Legacy film comparing with the first one to discuss the relation between ideology and cinema, especially science-fiction genre. Finally, the paper aims to explain differences and similarities between ideological society of the digital world in the film and the non-fictional world. For the paper, qualitative descriptive film analysis method is used to understand the visual and narrative structure relating to theoretical background. It demonstrates that persistence of ideology is in every environment in which humankind exists through blockbuster science fiction film sequel of TRON. ______________________________________________________________________________________________________________Her film türü kendi ideolojik kurallarına sahiptir ve o film türündeki her film ideolojik bakış açısını güçlendirmek için bu kuralları takip eder. Büyük gişe hasılatına sahip film türlerinden biri olan bilim kurgu, ideolojik öğeleri ile popüler kültür öğelerini sinemanın görsel ve işitsel anlatımı içerisinde birleştirmektedir. Bilgisayar aracılığıyla üretilen bir animasyon filmi olmasından dolayı TRON filmi bilim kurgu sineması tarihinde önemli bir yere sahiptir. Bununla birlikte film, alışılagelen makinelerin insanlara karşı olduğu gelecek dünyayı değil alternatif bir dünyayı anlatmaktadır. 28 yıl sonra, ilk filmin devamı olarak çekilen TRON Efsanesi teknolojik gelişmeler ışığında yeni bir alternatif dünyayı temsil etmektedir. Bu çalışma, her iki filmin sinematografik özelliklerini görsel ve anlatısal olarak açıklamakta ve TRON Efsanesi filmini TRON filmiyle karşılaştırarak özellikle bilim kurgu türü özelinde sinema ve ideoloji ilişkisini ortaya koymaktadır. Çalışmanın amacı, filmin dijital dünyasındaki ile gerçek dünyadaki ideoloji toplumun benzerliklerini ve farklılıklarını açıklayabilmektir. Çalışmada, görsel ve anlatısal yapıyı anlamak amacıyla kuramsal kısımla bağlamsal olarak betimsel durum analizi yöntemi kullanılmıştır. Sonuç olarak, çalışma ideolojinin insanın varolduğu her ortamda bulunduğunu sinemadan destek alarak TRON Efsanesi filmi üzerinden ortaya koymayı amaçlamaktadır.
As a film genre, Science-Fiction (SF) is unique with its predictions about the future. Especially... more As a film genre, Science-Fiction (SF) is unique with its predictions about the future. Especially, the relation of technology and human in the future is one of the main themes of SF films. SF films bring us the ideas to discuss how human body and identity will or might be affected by technology and machines. As a group of films describe the human and technology relation positively, another group of films draws a dystopian future of the relation. These both groups of films use human body and identity as surfaces to emphasize their predictions and considering these surfaces, mind and memory are the ones which come forward as the parts of human identity affected by technology. Therefore, this paper aims to understand how the prediction of SF films about mind and memory alteration by technology has been actualized. For this reason, chosen SF films by purposive sampling (Brazil, Colossus: the Forbin Project, Johnny Mnemonic, Minority Report, Sleep Dealer) are analyzed using qualitative film analysis and the results of the analysis are used for comparative analysis which includes films’ and today’s worlds on mind/memory and technology relation. As a result, the paper suggests that today’s human memory and mind alters to what SF films estimate, emphasizing the alteration is not complete yet, however, it breathes down the future’s neck.
Global Media Journal: Turkish Edition, Oct 25, 2013
"The relation between moral and politics has been closer in modern society and from individual to... more "The relation between moral and politics has been closer in modern society and from individual to society, moral and politics has parallel developments. Especially, the relation that individual created between moral and politics has been more significant because of the reflections in society. Public sphere has become an area for individual of modern society to present understanding of one’s moral and political opinion. For the same reason, in today’s society, Internet also has become important for individuals. This paper aims to study how individuals in Turkey use moral as a word in political context and statement in Twitter. To find answers for the questions; what the differentiations are politicization of concept of moral, how the moral concept is formed through politics, and in addition how social media affects changing relation of moral and politics are additional aims of this study. As the method of this study, qualitative textual analysis is used and for this method stratified purposeful sampling is chosen to apply. Time period of the study is decided according to the time of the study and also current news agenda between 12 – 17 December 2012. On 12th December, a government minister declared issue about abortion and on 17th December ÖSYM declared that there will be question on LYS exam from the Culture of Religion and Ethics lecture. Therefore, word of moral is searched on Twitter between 12 – 17 December 2012 and 4431 tweets found as the results. Among the results, using chosen sampling method, tweets that are related with the theoretical background are analyzed. Titles such as duty of moral, the relation between moral, politics and happiness, the sexuality of moral and politics, moral religion and political religion formed the results of findings part.
This paper discusses the process of how human body and identity has become hybrid of human and ma... more This paper discusses the process of how human body and identity has become hybrid of human and machine being affected by technology and how this alteration has been materialized from science-fiction cinema to the post-industrial society. The term “techno-human” is used to define this new hybrid version of the human including implanted bodies, artificial organs, prosthesis, digital identities and avatars.
Artificial intelligence has recently entered the field of cinema, as have many other fields. Inno... more Artificial intelligence has recently entered the field of cinema, as have many other fields. Innovative uses of AI-generated content are also observed in the field of scriptwriting. This study examines how the rhetoric in Turkish and English film dialogues generated by AI has differences or similarities in culture and language. In addition, by emphasizing the integration of storytelling and artificial intelligence, the study also aims to underline the importance of preserving linguistic diversity and cultural authenticity in cinematic narratives. In the context of the theoretical framework, this study examines the ability of AI to incorporate culturally relevant expressions, idioms, and rhetorical styles in dialogues. This is done through a qualitative textual and rhetorical comparison of AI-generated dialogues with traditional narrative and common stage themes. The findings may reveal the effectiveness of AI in generating culturally sensitive and nuanced dialogues but may also highlight its limitations in capturing the subtleties of language and culture. Such insights also re-emphasize the irreplaceable role of human creativity in filmmaking. By critically examining the role of AI in screenwriting, this study encourages the examination and discussion of the interplay between AI and human creativity. It seeks to understand how technology and creativity combine in cinematic storytelling.
Science fiction cinema is usually associated with the future is a phenomenon from the past, but n... more Science fiction cinema is usually associated with the future is a phenomenon from the past, but now this situation has become debatable. In particular, the emergence of science fiction narratives describing the past has brought this situation to an area that needs to be understood. In this context, nostalgia, which has become popular lately, implies a more profound meaning as it deals with positive and negative relationships with time and space rather than being just a trend (Niemeyer 2014, 2). Since science fiction narratives often create temporal and spatial confusion, common aspects of nostalgia and science fiction emerge. In addition, nostalgia involves "distancing and proximating"; it brings the illusory past closer and takes us out of the present, allowing "the simple, pure, ordered, easy, beautiful and harmonious" past to be reconstructed in the context of the present, making present appear more "complicated, contaminated, anarchic, difficult, ugly and confrontational" (Hutcheon 1998, 20). For this reason, nostalgic science fiction that tells about the past, present, and future, especially when the time travel theme is considered, can also contain the "distancing and proximating" features of nostalgia. In the light of these, this study aims to analyze the Turkish comedy-science fiction film Arif V 216 (Kıvanç Baruönü, 2018) in the context of cinematic nostalgia. The film is about 216’s –an android- traveling to Istanbul from the planet G.O.R.A. to find true love. When he arrives in today’s Istanbul, 216 and Arif have to travel to 1969, an era of nostalgic Turkish cinema called the Green Pine [Yeşilçam]. As 216 reaches his imagined nostalgic time of love and human relationship, the dual try to adapt to this new era, and when they return to the present, they find that everything has changed. The film’s plot uses nostalgic elements of Turkish culture from the 1960s but also the 1990s. Further, the film references other well-known Turkish movies and science fiction films such as Terminator in scenes and dialogues. Therefore, the film's narrative is a parody of nostalgia using a science fiction plotline. For this reason, this paper aims to understand the nostalgic effect and how it is used to create a comedy-science fiction subgenre. Also, significantly, referring to nostalgic texts of the Turkish cinema, how it may change the future animating different realities and nostalgic past. As a result, the science fiction film narrative is formed through comedy by reinforcing the nostalgic Turkish cinema and its narrative through embellishments and contrasts such as good-bad, old-new, and past-present. ///////////////////////Works Cited////////////////////// Hutcheon, L & Valdes, M. J. 1998. Irony, Nostalgia, and the Postmodern: A Dialogue. Poligrafias (3), 18-41. http://www.revistas.unam.mx/index.php/poligrafias/article/view/31312 /////////////// Niemeyer, K. 2014. Introduction: Media and Nostalgia. In Media and Nostalgia Yearning for the Past, Present and Future, edited by Katharina Niemeyer, 1-26. London: Palgrave Macmillan.
In today’s global pandemic situation, there are many lists on the Internet about movies that deal... more In today’s global pandemic situation, there are many lists on the Internet about movies that deal with pandemics, and these usually include Hollywood cinema and movies in English. However, considering the epidemic to be a global problem, it is essential to understand different storytelling on the subject outside of Hollywood and non-English cinema. This study focuses on two non-Hollywood and non-English movies that use the pandemic as a subject matter, made in the 2010s, and are on most of the listings. These purposefully chosen films are Flu (Sung-su Kim, 2013, South Korea) and Virus (Aashiq Abu, 2019, India) as these two Asian films become prominent on the recent online lists. This study aims to understand a different way of storytelling through pandemic as a subject matter other than Hollywood and English movies. In the study, firstly, the subject of pandemic and cinema is discussed and then selected two movies are analyzed to explain what the pandemic is about in a particular or new way. The approaches of dealing with the pandemic, where and how the pandemic takes place in the narration, what the situation and events mean for the main characters, and also the reaction of the countries to the pandemic process on the films are discussed.
Technology is a cumulative concept. Every new technology replaces previous
ones or transforms the... more Technology is a cumulative concept. Every new technology replaces previous ones or transforms them. In this transformation, new ones can use previous ones’ some elements. These elements may include familiar concepts from history, art and culture. From the beginning of the 21st Century, Internet is used by worldwide growingly and it affects the way of communication through mobile phone, computer and television. All these new technology tools have faster, thinner and clearer features. When these features considered, visuality has become more important for these new tools. Therefore, these tools have been created different forms of the image and moving image. In the last 5 years, as a moving image file format, GIF (Graphic Interchange Format) has become popular visual element. As GIF is an old image format from the 1980s, after solving the copyright problem in 2006, it is used by more people and it has become popular, as it was chosen the word of the year by Oxford Dictionary in 2012. GIFs are shared on social network sites, mobile phones, webpages, blogs and such. There are various content types of GIFs about politics, religion, culture and art. It seems that general reason to share GIFs is entertainment as many GIFs have funny content. One element of the funny contented GIFs is also failure. For this reason, this study aims to demonstrate as a new screening format, how funny failure GIFs use previous theatrical themes; comedy and tragedy to create funny content from real images explaining the context of funny GIFs through failure and tragicomic concepts. Qualitative visual analysis is used as a method for the paper. As a result, chosen GIFs are discussed in relation to their common content such as comedy, event, source and presentation types and GIF is considered as moving image of manipulated reality of postmodern era.
Günümüzün en etkili kitle iletişim araçlarından biri olan sinema toplumda varolan kültürel değerl... more Günümüzün en etkili kitle iletişim araçlarından biri olan sinema toplumda varolan kültürel değerleri yaygınlaştırma ve pekiştirme işlevine sahiptir. Kuşkusuz kültürel değişimler filmlere yansırken bir yandan da varolan değerler yeniden üretilir. Bu değerler yeniden üretilirken bireyler ve toplum açısından önemli pek çok kavram gündeme gelir. Bu kavramlardan biri tüm insanlık tarihi boyunca varolan, çoğu anlatı yapısının ana karakteri olan ve çok tartışılan “aşk” kavramıdır.
Aşk pek çok anlatının içeriğini oluşturur ve bir metafor olarak anlatı içerisinde varlığını sürdürür. “Aşk” bireysel bir haz olarak algılansa da kuşkusuz sosyolojik boyutu da olan bir kavramdır. Toplumsal yapı değiştikçe “aşk” kavramının anlamı da değişir. Aşk iki kişi arasında sınırlansa da sonuç olarak toplumun şekillendirdiği bir kavramdır.
Aşk teması sinema için vazgeçilmez ögelerden biridir. Filmler ister güldürü, ister melodram isterse tarihsel olsun “aşk” kavramını görmezden gelmezler. Çünkü “aşk” anlatı yapısının en önemli yapı taşlarından biridir ve üstelik filmin izlenme oranını arttıran bir kavramdır. Adem ile Havva’nın öyküsünden bu yana anlatıların vazgeçilmez bir kavramı olan aşk Türk filmlerinde de sıklıkla ana karakter olarak yer alır.
Toplumsal değer ve değişimleri yansıtan filmler “aşk” üzerine pek çok şey söylemektedirler. Bu filmler aracılığı ile “aşk” kavramının anlamının toplumsal değişme ile nasıl farklı bir anlama büründüğünü görmek olanaklı hale gelmektedir.
Bu çalışmada da Türk filmlerinde “aşk” kavramının anlatı içerisindeki yerine bakılacaktır. Toplumsal değişme ile birlikte bu kavramın filmlere nasıl yansıdığı, anlamın nasıl değiştiği ve aşkın nasıl öğretildiği Aşk Tesadüfleri Sever adlı filmde ele alınacaktır.
Oyunların tarihsel, kültürel, zamansal bağlamları ve içerikleri
olduğu gibi anlatısal özellikleri... more Oyunların tarihsel, kültürel, zamansal bağlamları ve içerikleri olduğu gibi anlatısal özellikleri de bulunmaktadır. Oyun anlatısı, çok eski geçmişe sahip sokak oyunlarından günümüzdeki bilgisayar oyunlarına kadar çeşitlenmiş ve gelişmiştir. Özellikle günümüz bilgisayar oyunları; karakterleri, kurgusu, olay örgüsü ve görsel-işitsel özellikleriyle belirli bir anlatı oluştururlar. Bu anlatı biçimi, edebiyat temelli olsa da görsel ve işitsel yönü bakımından sinema anlatısına yakın bir anlatı biçimi olarak düşünülebilir. Birçok anlatı biçiminden beslenen sinema, oyunların anlatısını da kullanmaktadır. Zamansal süreçte birçok video oyunu sinemaya uyarlanmış aynı zamanda sinema filmlerinden de video oyunlar üretilmiştir. Bu alandaki alan yazını bağlamında, bu çalışmada, ana olay örgüsünü ve konusunu bilgisayar oyunları üzerine kuran filmlerin anlatı biçiminin sinemada nasıl kullanıldığı incelenmektedir. Bilgisayar oyununu ana olay örgüsünde kullanan ve bu bağlamda amaçlı örneklemle seçilen Oyunbozan Ralph (Rich Moore, 2012), Pixels (Chris Columbus, 2015), Başlat (Steven Spielberg, 2018) ve Gerçek Kahraman (Shawn Levy, 2021) filmlerindeki oyun hikâyelerinin; biçimsel ve anlatısal açıdan hangi özellikleriyle sinemaya yansıdığı ve oyun anlatısının filmlerin içeriğindeki rolleri tartışılmaktadır.
Turkish Cinema and Television Industry in the Digital Streaming Era , 2022
Digital platforms are transforming the way of watching in national and international media, both ... more Digital platforms are transforming the way of watching in national and international media, both experience and content. In particular, these platforms produce content by broadcasting from locally to globally, allowing local content to enter global circulation. For this reason, the international circulation of local narratives is increasing. Therefore, narrative structures can also change. In this chapter, the sequence structure of Netflix Turkey films is examined with the sequence approach applied to traditional narrative films globally in order to understand the narrative connection of local productions with the global. In addition, the selected films are compared with the films that were screened in movie theaters in Turkey and later released on Netflix with the same directors. Finally, the findings are categorized and discussed in the context of the selected films’ narrative, production, and content. As a result, the sequences in the narrative structure of the selected films are discussed, their similarities and differences are revealed, and the variability of the sequence structure is interpreted.
Türk Sineması Üzerine Yeni Söylemler: Çağdaş Temsiller, Çözümlemeler ve Türler, May 2021
Bu çalışmanın konusu, kökleri edebiyata dayanan ve sonrasında sinemada görülen deneme türü bağlam... more Bu çalışmanın konusu, kökleri edebiyata dayanan ve sonrasında sinemada görülen deneme türü bağlamında senarist ve yönetmenliğini Burak Çevik’in yaptığı 2019 yapımı Aidiyet filminin deneme (essay) film bağlamında görsel ve anlatısal olarak incelenmesidir. Bu konunun ve filmin seçilmesinin ne-deni, Türk sinemasında deneysel filmlerle çok karşılaşılmaması, deneme film olarak uzun metraj ve gösterime giren filmlerin sıkça üretilmemesidir. Sinema çalışmalarının üretilen filmlere bağımlılığı düşünüldüğünde, Türk sinemasında deneme film olarak ele alabileceğimiz yakın döneme ait Aidiyet filminin incelenmesi, hem deneme film kavramını irdeleyerek yazınsal alana katkıda bulunmak, hem de film anlatısı üzerinden deneme filme ilişkin yerel bir örnek sunmayı amaçlamaktadır. Bu nedenle çalışmada öncelikle deneme film kavramına ilişkin bir alanyazını derlenmiş ve sonrasında da alanyazını ile ilişkili olarak Aidiyet filminin görsel ve metinsel içeriğinin oluşturduğu anlatı yapısı çözümlenmektedir. ///////////////// [The subject of this study is the visual and narrative analysis of the 2019 film Aidiyet [Belonging], which was written and directed by Burak Çevik, in the context of the essay genre, which is based on literature and later seen in the cinema. The reason for choosing this subject and film is that essay films are not frequently encountered in Turkish cinema, and feature-length films and films that are screened as essay films are not produced frequently. Considering the dependence of cinema studies on the films produced, the examination of the recent film Aidiyet [Belonging], which we can consider as a essayl film in Turkish cinema, aims to both contribute to the literary field by examining the concept of the essay film and present a local example of the essay film through the film narrative. For this reason, in the study, firstly, a literature on the concept of essay film is compiled and then the narrative structure formed by the visual and textual content of the film Aidiyet [Belonging] is analyzed in relation to the literature.]
Feminist Interrogations of Women's Head Hair: Crown of Glory and Shame, Jun 14, 2018
A study of the visual content of album covers of four singers: Madonna and Beyoncé (popular music... more A study of the visual content of album covers of four singers: Madonna and Beyoncé (popular music artists) and PJ Harvey and Björk (alternative/indie music artists). Cover photography of music albums has been an important element of artists’ representation and a medium to grab listeners’ attention. The album cover has become an art form to reflect musicians’ styles, expressing their identities and ideas. This chapter discusses these singers’ musical styles, considering the visual representation of their hair on select album cover photos. It reveals the relations between two different art forms – music and photography – in terms of the meaning of hair as a visual element that conveys ideas about identity and ideology.
Sobe: Çocuklara Dair Büyükler İçin Medya Okumaları (Ed: E. Gizem Uğurlu), Literatürk Yayınları, ISBN:9786053370086, Jan 2014
All the elements cinema represents have the realistic components of life. The childhood that has ... more All the elements cinema represents have the realistic components of life. The childhood that has significant place in human life is also represented in cinema. In the cinema of Turkey, there are films, which have child as the main character or dominant element in the story of the film. After 2000, almost every year, there are films that have child as the protagonist. There are a few studies, which compare recent and former representation of child in cinema, and studies that concentrate on contextual relation of childhood in society and cinema. Therefore, the problem of this paper is able to reach determinations and result about changing representation of child identity and childhood also considering the comparison of the former representation. This paper aims to study sociological and cultural representation of child identity and childhood through social context in cinema of Turkey analyzing dominant and common features of child characters. The answers for questions; how and what the situation of childhood in today’s society, which features of childhood come forward, what the meaning of childhood is Turkey’s society and how this meaning is represented in cinema forms the general frame of this paper. In this study, qualitative situation analysis is used with theoretical framework contextually. The examples of films are choose according to box office results in the last five years (2008 – 2012) from the films which have child character as one of the main characters of the films in cinema of Turkey. The films are; O... Çocukları, Umut, Prensesin Uykusu, Dedemin İnsanları and Can. As a result, titles such as orphanage of child, relation of child identity with the concept of hope and continual explanation of the conspicuity of child forms the outcomes of this study.
Sinemanın temsil ettiği tüm öğeler yaşama ilişkin gerçekleri barındırmaktadır. Bireyin toplum içerisindeki yaşamında geçirdiği dönemler içerisinde önemli bir yere sahip olan çocukluk da sinemada temsili bulunan bir kavram olarak yer almaktadır. Türkiye sinemasında çocuğun hem ana karakter olarak yer aldığı hem de ana hikâyenin yanında baskın bir öğe olarak bulunduğu belirgin filmlere rastlanılmaktadır. 2000 sonrası Türkiye sinemasına baktığımızda, neredeyse her yıl bir adet ana karakterlerinden biri çocuk olan filmler çekilmiştir. Film çalışmaları alanında, günümüz çocukluk temsili ile geçmiş dönemdeki çocukluk temsilinin karşılaştırılmasına ilişkin çalışmalar ile günümüz Türkiye toplumunun gerçeğindeki çocuk kavramına ilişkin bağlamsal değerlendirmeler de sayıca azdır. Bu nedenle, bu çalışmanın sorunsalı bahsedilen karşılaştırma ve çocuk kimliğinin değişen temsiline ilişkin belirleme ve sonuçlara ulaşabilmektir. Bu çalışma, Türkiye sinemasında son 5 yılda gösterime girmiş ve ana karakteri çocuk olan filmlerde Türkiye toplumuyla bağlamsal olarak çocukluğun kültürel ve sosyolojik açıdan temsilini, filmlerdeki çocuk karakterlerin baskın ve ortak yönlerin incelenmesiyle, Türkiye sinemasındaki güncel çocuk temsilini çözümlemeyi amaçlamaktadır. Çocuk karakterler ve çocukluk, günümüz toplumunda nasıl ve nereye konumlandırılmış, çocukluğun hangi özellikleri ön plana çıkartılmış, “çocuk” bir kimlik olarak Türkiye toplumu için ne ifade etmektedir ve bu ifade biçimi sinemaya nasıl yansımıştır gibi sorulara verilen yanıtlar çalışmanın genel çerçevesini oluşturmuştur. Çalışmada, kuramsal çerçeve ile birlikte bağlamsal olarak niteliksel durum çözümlemesi yöntem olarak kullanılmıştır. Örnek olarak seçilen filmler; son beş yılda (2008 – 2012) gösterime girmiş ve en çok izlenen aynı zamanda da, ana karakterleri arasında çocuk olan Türk filmlerinden oluşturulmuştur. Bu bağlamda O... Çocukları, Umut, Prensesin Uykusu, Dedemin İnsanları ve Can filmleri seçilmiştir. Çocuğa ilişkin anne ve/veya baba yokluğu, çocuğun umut kavramıyla ilişkilendirilen temsili, olayların ve yaşamın ortasında bırakılan çocuk öğesinin sıkça işlenmesi, çözümleme bölümüne ilişkin alt başlıkları oluşturmuştur.
This thesis defines techno-human as a new notion to describe altered human body and identity by t... more This thesis defines techno-human as a new notion to describe altered human body and identity by technology following its expedition from the fictional world of science-fiction cinema to non-fictional world of post-industrial society. Science-fiction cinema has always significant role as an art form to define and discuss the future of interaction between human and technology. In 1993, Scott Bukatman has studied this reformed human figure in SF cinema with the notion of terminal body and identity, after ten years, Giuseppe O. Longo (2003) use the term homo-technologicus define the human being of the 21st Century. In addition, today, almost ten years later than Longo, combining the study of Bukatman for science-fiction cinema and the study of Longo for the actual life, this thesis, so the concept of techno-human, discusses the cyborgs, artificial organs, prosthesis, information and communication technologies (ICTs), the Internet, cars, cyber and virtual space, automated homes and such in both fictional and non-fictional areas. Besides, the thesis compares the post-industrial society of today with the proclamation of science-fiction cinema about future in terms of human and technology relationship trying to find the similarities between the today and the future of the science-fiction. As human being is a whole existence with the body and identity, thesis includes the altered body and the identity of techno-human together with their relation considering technology and machines affects both of them. With these two features of human, further, the thesis concentrates on the space which has become significant figure in the SF films for the reason that the space is where techno-human lives, therefore; the body and identity is affected by the space in both fictional and non-fictional area. In conclusion, the thesis discusses physical and personal existence of human who is affected by technology and machines, using the notions of techno-body and techno-space and watching the expedition of these notions and techno-human from science-fiction cinema to today’s world.
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ones or transforms them. In this transformation, new ones can use previous
ones’ some elements. These elements may include familiar concepts from history,
art and culture. From the beginning of the 21st Century, Internet is used by worldwide
growingly and it affects the way of communication through mobile phone,
computer and television. All these new technology tools have faster, thinner and
clearer features. When these features considered, visuality has become more important
for these new tools. Therefore, these tools have been created different forms
of the image and moving image. In the last 5 years, as a moving image file format,
GIF (Graphic Interchange Format) has become popular visual element. As GIF is an
old image format from the 1980s, after solving the copyright problem in 2006, it is
used by more people and it has become popular, as it was chosen the word of the
year by Oxford Dictionary in 2012. GIFs are shared on social network sites, mobile
phones, webpages, blogs and such. There are various content types of GIFs about
politics, religion, culture and art. It seems that general reason to share GIFs is entertainment
as many GIFs have funny content. One element of the funny contented
GIFs is also failure. For this reason, this study aims to demonstrate as a new screening
format, how funny failure GIFs use previous theatrical themes; comedy and
tragedy to create funny content from real images explaining the context of funny
GIFs through failure and tragicomic concepts. Qualitative visual analysis is used as
a method for the paper. As a result, chosen GIFs are discussed in relation to their
common content such as comedy, event, source and presentation types and GIF is
considered as moving image of manipulated reality of postmodern era.
Aşk pek çok anlatının içeriğini oluşturur ve bir metafor olarak anlatı içerisinde varlığını sürdürür. “Aşk” bireysel bir haz olarak algılansa da kuşkusuz sosyolojik boyutu da olan bir kavramdır. Toplumsal yapı değiştikçe “aşk” kavramının anlamı da değişir. Aşk iki kişi arasında sınırlansa da sonuç olarak toplumun şekillendirdiği bir kavramdır.
Aşk teması sinema için vazgeçilmez ögelerden biridir. Filmler ister güldürü, ister melodram isterse tarihsel olsun “aşk” kavramını görmezden gelmezler. Çünkü “aşk” anlatı yapısının en önemli yapı taşlarından biridir ve üstelik filmin izlenme oranını arttıran bir kavramdır. Adem ile Havva’nın öyküsünden bu yana anlatıların vazgeçilmez bir kavramı olan aşk Türk filmlerinde de sıklıkla ana karakter olarak yer alır.
Toplumsal değer ve değişimleri yansıtan filmler “aşk” üzerine pek çok şey söylemektedirler. Bu filmler aracılığı ile “aşk” kavramının anlamının toplumsal değişme ile nasıl farklı bir anlama büründüğünü görmek olanaklı hale gelmektedir.
Bu çalışmada da Türk filmlerinde “aşk” kavramının anlatı içerisindeki yerine bakılacaktır. Toplumsal değişme ile birlikte bu kavramın filmlere nasıl yansıdığı, anlamın nasıl değiştiği ve aşkın nasıl öğretildiği Aşk Tesadüfleri Sever adlı filmde ele alınacaktır.
olduğu gibi anlatısal özellikleri de bulunmaktadır.
Oyun anlatısı, çok eski geçmişe sahip sokak oyunlarından
günümüzdeki bilgisayar oyunlarına kadar çeşitlenmiş ve
gelişmiştir. Özellikle günümüz bilgisayar oyunları; karakterleri,
kurgusu, olay örgüsü ve görsel-işitsel özellikleriyle
belirli bir anlatı oluştururlar. Bu anlatı biçimi, edebiyat temelli
olsa da görsel ve işitsel yönü bakımından sinema anlatısına
yakın bir anlatı biçimi olarak düşünülebilir. Birçok
anlatı biçiminden beslenen sinema, oyunların anlatısını da
kullanmaktadır. Zamansal süreçte birçok video oyunu sinemaya
uyarlanmış aynı zamanda sinema filmlerinden de
video oyunlar üretilmiştir. Bu alandaki alan yazını bağlamında,
bu çalışmada, ana olay örgüsünü ve konusunu bilgisayar
oyunları üzerine kuran filmlerin anlatı biçiminin sinemada
nasıl kullanıldığı incelenmektedir. Bilgisayar oyununu
ana olay örgüsünde kullanan ve bu bağlamda amaçlı
örneklemle seçilen Oyunbozan Ralph (Rich Moore, 2012),
Pixels (Chris Columbus, 2015), Başlat (Steven Spielberg,
2018) ve Gerçek Kahraman (Shawn Levy, 2021) filmlerindeki
oyun hikâyelerinin; biçimsel ve anlatısal açıdan hangi
özellikleriyle sinemaya yansıdığı ve oyun anlatısının filmlerin
içeriğindeki rolleri tartışılmaktadır.
Sinemanın temsil ettiği tüm öğeler yaşama ilişkin gerçekleri barındırmaktadır. Bireyin toplum içerisindeki yaşamında geçirdiği dönemler içerisinde önemli bir yere sahip olan çocukluk da sinemada temsili bulunan bir kavram olarak yer almaktadır. Türkiye sinemasında çocuğun hem ana karakter olarak yer aldığı hem de ana hikâyenin yanında baskın bir öğe olarak bulunduğu belirgin filmlere rastlanılmaktadır. 2000 sonrası Türkiye sinemasına baktığımızda, neredeyse her yıl bir adet ana karakterlerinden biri çocuk olan filmler çekilmiştir. Film çalışmaları alanında, günümüz çocukluk temsili ile geçmiş dönemdeki çocukluk temsilinin karşılaştırılmasına ilişkin çalışmalar ile günümüz Türkiye toplumunun gerçeğindeki çocuk kavramına ilişkin bağlamsal değerlendirmeler de sayıca azdır. Bu nedenle, bu çalışmanın sorunsalı bahsedilen karşılaştırma ve çocuk kimliğinin değişen temsiline ilişkin belirleme ve sonuçlara ulaşabilmektir. Bu çalışma, Türkiye sinemasında son 5 yılda gösterime girmiş ve ana karakteri çocuk olan filmlerde Türkiye toplumuyla bağlamsal olarak çocukluğun kültürel ve sosyolojik açıdan temsilini, filmlerdeki çocuk karakterlerin baskın ve ortak yönlerin incelenmesiyle, Türkiye sinemasındaki güncel çocuk temsilini çözümlemeyi amaçlamaktadır. Çocuk karakterler ve çocukluk, günümüz toplumunda nasıl ve nereye konumlandırılmış, çocukluğun hangi özellikleri ön plana çıkartılmış, “çocuk” bir kimlik olarak Türkiye toplumu için ne ifade etmektedir ve bu ifade biçimi sinemaya nasıl yansımıştır gibi sorulara verilen yanıtlar çalışmanın genel çerçevesini oluşturmuştur. Çalışmada, kuramsal çerçeve ile birlikte bağlamsal olarak niteliksel durum çözümlemesi yöntem olarak kullanılmıştır. Örnek olarak seçilen filmler; son beş yılda (2008 – 2012) gösterime girmiş ve en çok izlenen aynı zamanda da, ana karakterleri arasında çocuk olan Türk filmlerinden oluşturulmuştur. Bu bağlamda O... Çocukları, Umut, Prensesin Uykusu, Dedemin İnsanları ve Can filmleri seçilmiştir. Çocuğa ilişkin anne ve/veya baba yokluğu, çocuğun umut kavramıyla ilişkilendirilen temsili, olayların ve yaşamın ortasında bırakılan çocuk öğesinin sıkça işlenmesi, çözümleme bölümüne ilişkin alt başlıkları oluşturmuştur.
its expedition from the fictional world of science-fiction cinema to non-fictional world of post-industrial society.
Science-fiction cinema has always significant role as an art form to define and discuss the future of interaction between
human and technology.
In 1993, Scott Bukatman has studied this reformed human figure in SF cinema with the notion of terminal body and
identity, after ten years, Giuseppe O. Longo (2003) use the term homo-technologicus define the human being of the 21st
Century. In addition, today, almost ten years later than Longo, combining the study of Bukatman for science-fiction
cinema and the study of Longo for the actual life, this thesis, so the concept of techno-human, discusses the cyborgs,
artificial organs, prosthesis, information and communication technologies (ICTs), the Internet, cars, cyber and virtual
space, automated homes and such in both fictional and non-fictional areas. Besides, the thesis compares the
post-industrial society of today with the proclamation of science-fiction cinema about future in terms of human and
technology relationship trying to find the similarities between the today and the future of the science-fiction.
As human being is a whole existence with the body and identity, thesis includes the altered body and the identity of
techno-human together with their relation considering technology and machines affects both of them. With these two
features of human, further, the thesis concentrates on the space which has become significant figure in the SF films for
the reason that the space is where techno-human lives, therefore; the body and identity is affected by the space in both
fictional and non-fictional area.
In conclusion, the thesis discusses physical and personal existence of human who is affected by technology and
machines, using the notions of techno-body and techno-space and watching the expedition of these notions and
techno-human from science-fiction cinema to today’s world.