Nezih Erdogan
Istinye University, New Media, Faculty Member
- Film Theory, Theory of Film/Video Production, Early Cinema, Semiotics, Turkish Popular Cinema, Spectatorship, and 19 moreCinema and Digital Media, Cultural Studies, Film Studies, Film Adaptation, Film Genre, Gender and Sexuality, Cinema, Space and Place, Türk Sineması, Kültürel çalışmalar, Osmanlı Tarihi, Turkish Cinema, Ottoman History, Sinema, Cinema Studies, Ottoman Turkish historical writing, Silent Film, Late Ottoman Period, and History of Modern Turkeyedit
- http://www.neziherdogan.netedit
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Research Interests: Humanities and Art
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Continuity and change are the two major trends that mark European film and media vistas today. While continuity is the result of more than a century of European film and media tradition, change is brought about by technological... more
Continuity and change are the two major trends that mark European film and media vistas today. While continuity is the result of more than a century of European film and media tradition, change is brought about by technological convergence, the evolution of globalization and commercial markets and of artistic and aesthetic norms, and the ever-expanding cultural borders of Europe. Bringing together eighteen research-based analyses on topics as diverse as Europe itself, Shifting Landscapes: Film and Media in European Context presents various accounts of filmic and televisual media, text and form, mediated politics, media policy, globalization, diasporic media, multiculturalism and more. The chapters are grouped into three main sections: Identities, Borders, Industries; Migration, Space, Transnationality; and Telling Stories: Medium, Form, Message and Beyond. Employing film studies, critical social theory and cultural studies and drawing upon technological, spatial, political economic, sociological and anthropological approaches, the authors present multidimensional and multi-faceted depictions of the historical and contemporary factors that have shaped, and continue to shape, film and media in Europe. "Ambitious in both its intellectual and geographical scope, this volume provides us with an innovative and original understanding of what is happening in the new and rapidly changing European cinema scene - a very welcome intervention in an important cultural agenda." Kevin Robins, City University, London "Miyase Christensen and Nezih Erdogan have edited an excellent book on film and media landscapes in the "new" Europe of the early twenty-first century. Incorporating eighteen individual chapters in three parts, the book re-examines what "European" media and cinema means during a period in which the geographical and cultural boundaries of "Europe" are still shifting, the media themselves are deeply influenced by the digital revolution, and audiences for "film" are constantly re-defining themselves. The book itself offers fresh perceptions across a range of different fields and should be of interest to all those fascinated by current trends in both film and media." Melvyn Stokes, University College London
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Eminent film scholar Thomas Elsaesser passed away on 4 November 2019. Elsaesser not only published seminal works in film studies but also founded film studies departments and graduate programs at notable universities. Most recently, he... more
Eminent film scholar Thomas Elsaesser passed away on 4 November 2019. Elsaesser not only published seminal works in film studies but also founded film studies departments and graduate programs at notable universities. Most recently, he was professor emeritus at the University of Amsterdam and visiting professor at Columbia and Yale University. Elsaesser also served as the editor of the book series Film Culture in Transition at Amsterdam University Press. In 2017, Elsaesser wrote and directed the film The Sun Island / Die Sonneninsel which centered on his grandfather Martin Elsaesser, a well-known architect.
Research Interests: Art History and Art
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The proposed study aims to examine the role of cinema as a cultural, social and commercial institution, as it developed under the conditions brought about by the postwar Allied occupation of Istanbul between 1918 and 1923. Despite the... more
The proposed study aims to examine the role of cinema as a cultural, social and commercial institution, as it developed under the conditions brought about by the postwar Allied occupation of Istanbul between 1918 and 1923. Despite the spiralling political, social and economic fallout suffered in Turkey during the First World War and its aftermath, the country's nascent film business (production-distribution-exhibition) not only managed to continue its activities over this period but succeeded in sealing its role as the premier form of mass entertainment. However, as with every other facet of public life, the cinema industry, too, was greatly affected by the Occupation, becoming at once galvanised as an arena for political intervention-namely, through regulation, censorship, and propaganda. But what kind of film regulations could the Occupation enforce? What pressure lay upon filmmakers to adapt their films? Moreover, how did theatre operators, whether through the maintenance of their establishments or choice of films, affect the industry amid unprecedented conditions? The proposed research aims to trace these lines of inquiry and more in the hope that an examination of this period in the history of cinema in Turkey may cast light on the broader issue of Turkey's "Westernisation" project and the emergence of the modern Turkish subject. Although the occupation endured for only five years following Turkey's surrender to the Allied Powers in 1918, its ripples can still be felt today-arguably, not just in the country itself, but the region as a whole, today (Göknar, 2014). Despite this significance, however, the period carries a woeful lack of research: A deficiency that this proposal seeks to go some way to redressing. In order to achieve a most comprehensive assessment of the period possible sources will be garnered from a correlation of archive material, ranging from official correspondence to judicial decrees, news articles, leaflets and periodicalsnot to mention archive footage that has survived to this day. Excerpts from memoirs and fictional works testifying to the period will also provide additional insight as secondary sources. Furthermore, Professor Ian Christie, a world-renowned scholar on the history of early cinema at Birkbeck College, has kindly agreed to collaborate on this study. Christie has much experience in the field-not least in terms of the methodologies required, with a proven track record in seeking out and accessing archival data.
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Bu calisma, giris kisminda Osmanli ve Erken Cumhuriyet tarihine egilen arastirmacilar icin bir durum tespiti yaparak baslamakta, arastirma nesnesinin cesitliligini ve kapsamini betimlemekte, alanin sorun ve kisitliliklarina deginmektedir.... more
Bu calisma, giris kisminda Osmanli ve Erken Cumhuriyet tarihine egilen arastirmacilar icin bir durum tespiti yaparak baslamakta, arastirma nesnesinin cesitliligini ve kapsamini betimlemekte, alanin sorun ve kisitliliklarina deginmektedir. Ardindan arastirma donemine iliskin kisa bir tartisma ile bir cerceve cizmeye girismektedir. Daha sonra, soz konusu doneme yonelik arastirmalarin olusturdugu literatur icin bir zaman araligi belirlemektedir (1946 – 2020). Calisma, yapilan yayinlar arasindan temsil kabiliyeti olanlari secerek, tarihyaziminda ortaya cikmis temel egilimler uzerinde yogunlasmaktadir. 1960li yillardan baslayarak, sinema tarihyaziminin ilk evrelerinde ideolojik yapiyi ele veren yerlesik onkabuller, onceki kaynaklari sorgulamaksizin yineleme aliskanligi, “ilk”ler ve kokenlere yonelik israrli vurgular tarihyaziminin baslica ozellikleriydi. 2000li yillarla birlikte bir donusum gozlenmeye baslamistir. Belgeye verilen onem artmis, dijitallesme yoluyla yeni kaynak uretme calis...
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Film archives are fast spreading around the world, and with them issues surrounding archival digitisation, artistic appropriation, and academic reinterpretation of film material that demand scholarly attention. Exploring Past Images in a... more
Film archives are fast spreading around the world, and with them issues surrounding archival digitisation, artistic appropriation, and academic reinterpretation of film material that demand scholarly attention. Exploring Past Images in a Digital Age: Reinventing the Archive aims to fill this demand with a thought-provoking collection of original articles contributed by renowned scholars, archivists, and artists. It urges the reader to “forget” standard ways of thinking about film archives and come to grips with the challenges of analysing and recontextualising an area in transit from the analogue to the digital. The book not only throws light on unexplored issues related to film archives but also introduces unconventional approaches and alternative sources for scholarly research and a vast range of artistic possibilities.
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Sinema tarihi alanindaki calismalarin 2000’li yillardan itibaren artisi ana konu basliklarinin cesitlenmesini ve farkli kaynaklarin kullanimini mumkun kilmistir. 1939’da Nurullah Tilgen’in kisa yazisi ve 1946’da Rakim Calapala’nin bu... more
Sinema tarihi alanindaki calismalarin 2000’li yillardan itibaren artisi ana konu basliklarinin cesitlenmesini ve farkli kaynaklarin kullanimini mumkun kilmistir. 1939’da Nurullah Tilgen’in kisa yazisi ve 1946’da Rakim Calapala’nin bu alanda yazdigi makalenin ardindan pek cok orijinal calisma Osmanli/Turkiye sinema tarihi calismalarinin yonunu degistirmistir. Sinema calismalari alanindaki aka demisyenler sadece film elestirisiyle sinirli kalmayarak, sinema ve edebiyattan esinlenen metin analizlerine ve tarihi calismalarin arsiv merkezli yontemlerine basvurmustur. Bir gorsel kaynak olarak filmler, kendi tarihsellikleriyle birlik te, tarihcilerin odak alanina girmis ve tarihi calismalarda disiplinlerarasi yon temlerle kullanilmistir. Bu olumlu gelismelerle birlikte sinema tarihi calismalari yontem, kaynak ve yaklasimlar acisindan halen bazi sorunlari barindiriyor. Bu nedenle Osmanli/Turkiye sinema tarihi calisan uzmanlarin derinlemesine bir fikir alisverisi icinde temel sorunlari belir...
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Türk Film Araştırmalarında Yeni Yönelimler 3 Deniz Bayrakdar (ed) İstanbul, Bağlam Yayınları, 2003, 107- 124.
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DOĞU BATI 2001, no: 15
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... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under... more
... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under the search result of the name 'Fatih Akın'. ...
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... magic more easily.'§ ener§ en, the star of Yesilc, am, the mainstream cinema of the 1960s and 1970s, and now superstar of the New Turkish Cinema, referred to ...
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... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under... more
... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under the search result of the name 'Fatih Akın'. ...
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söyleşi: Nesrin Yorulmaz, Ocak 2016, s 14 - 17
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Kasım Aralık 2018, no: 20, s 36- 39
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Türk Film Araştırmalarında Yeni Yönelimler 4 Deniz Bayrakdar (ed) İstanbul, Bağlam Yayınları, 2004, 165-169
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Doğu - Batı , no: 2, February -March-April, 1998, 155-162
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Türk Film Araştırmalarında Yeni Yönelimler 3 Deniz Bayrakdar (ed) İstanbul, Bağlam Yayınları, 2003, 107- 124.
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Toplum ve Bilim , no: 7, Eylül, 1995, 178-196.
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DOĞU BATI 2001, no: 15
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This chapter examines the ways in which American cinema was represented in Turkey in the 1940s and the evidence for the existence of a growing connection between American cinema and the popular Turkish imagination during this period. It... more
This chapter examines the ways in which American cinema was represented in Turkey in the 1940s and the evidence for the existence of a growing connection between American cinema and the popular Turkish imagination during this period. It is based on an analysis of the popular film magazines of the time, as well as the memoirs and observations of writers interested in cinema. Issues of audience demand, of course, pose questions about the cultural identities involved in the experiences of identification and fantasy enjoyed by the film viewer. After describing the historical context in which American cinematic hegemony was established, the chapter will consider some of the ways in which Hollywood itself functioned as a kind of fantasy screen for the Turkish viewer. It will also touch upon European cinema since – as becomes particularly clear in the memoirs of film historian Giovanni Scognamillo – the tension between America and Europe, and thus between Hollywood and European cinema, is crucial to the men- tal machinery at work in the viewers’ cinematic experience in its broadest sense.
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review of Colonial Fantasies by Meyda Yeğenoğlu
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This is to introduce a software programme which simulates the traditional shadow play, Karagoz.
... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under... more
... For example, an entry on Akın in eksi sozluk, a very popular web dictionary, addresses the issue of his hyphenated identity using rather dismissive language. ... 7 These entries of the website eksisozluk (sour dictionary) appear under the search result of the name 'Fatih Akın'. ...
... Towards the finale, having come to appreciate the heroine's virtues, the long-lost lover, now father, returns, but the heroine's pride delays the reunion ( Sana Dönmeyeceğim/I Will Never Return To You, AyŞem/AyŞe Mine,... more
... Towards the finale, having come to appreciate the heroine's virtues, the long-lost lover, now father, returns, but the heroine's pride delays the reunion ( Sana Dönmeyeceğim/I Will Never Return To You, AyŞem/AyŞe Mine, Kinali Yapincak/Golden Red Grape). ...
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... magic more easily.'§ ener§ en, the star of Yesilc, am, the mainstream cinema of the 1960s and 1970s, and now superstar of the New Turkish Cinema, referred to ...