The article is based on 20 in-depth interviews with women professionals conducted for a more comprehensive study focusing on gender roles within the film and television industry in Turkey. This study examines the career possibilities for women, the experience of being a woman working in television and cinema, and the working environment, including work-life balance issues, experiences of discrimination and experiences of sexism. The hypothesis of this study is that film industry is male-dominated, and women have to struggle to be able to prove themselves in this industry in the 21st century in Turkey, where the position of women is made even more difficult by the gender role codes and the structure of Turkish society.
Müzeler, sanat galerileri, tiyatro, sinema ve performans sanatları her daim nesnelere oryante edilmektedir ve sunumları gerçekleştirilmektedir. Özellikle, son on yılda sanat çalışmaları alanında kendine yer bulan yeni medya, sanatın ayrılmaz bir parçası haline gelmiştir. Sanat, geleneksel araçlar ile olduğu kadar yeni medya ile bütünleşerek kendi sunumunu gerçekleştirir. Daha önceki diğer sanat çalışmalarından farklı olarak, yeni medya, sanatı nesnenin odağından alarak daha dinamik ve aşamalar kaydeden bir yapı kazandırdı. Yeni medya ile şekillenen sanat çalışmalarını dinamik, interaktif, değişken olarak sınıflandırmak mümkündür. Bununla birlikte yeni medya, sanat nesnesinin geleneksel kavramlarının nesnelleştirilmesini engellemektedir. Bu çalışmada amaç; geçtiğimiz on yıl içerisinde sanatın içerisine nüfus eden yeni medya ve sanat ilişkisini tartışmaktır. Yeni Medya Sanatı (New Media Art), Dijital Sanat (Digital Art) ve Medya Sanatı (Media Art) kavramları bu çalışmanın temelini oluşturmaktadır. Günümüzde sanat, bu tanımlar ile anılmaktadır. Çalışmada bu kavramların birer sanat türü mü yoksa sanat hareketi mi oldukları sorusunun yanıtları örnek çalışmalar üzerinden irdelenmektedir. Bununla birlikte yedinci sanat sinemanın yeni medya araçları ile uğradığı dönüşüm de literatür taraması aracılığıyla tartışılmaktadır.
Mass media, especially cinema and television, are important devices that build and strengthen males and female roles in societies. The representation of gender in media is crucial because individuals get to know gender roles in the process of socialization. Besides the female identity, masculinity is also a constructible element and fictional male characters produced both in cinema and on television send messages about masculinity to the audience. In this study, the male representation both in the television series and in films were compared with this assumption and the question how male characters are represented on the two different mass media is examined in Turkey. Furthermore, the question "whether masculine representation reinforces the existing patriarchal male image or produces an alternative male model" is in the interest area of the study. The method of this study is reception analysis and in-depth interviews were undertaken with audiences with different demographic characteristics. As a result, it has been found that male representations in cinema and television are produced with similar myths, symbols, metaphors and messages, similar gender languages are used in different media, and fictional male characters in cinema and television have common characteristics.
This study discusses journalism and how well this profession is framed according to the professional codes of journalism. It focuses on Turkish films made between 1980 and 1990. In the early 1980s, journalism became an important issue with the coercion of the mass media under the TurkishRepublic. Gazeteci (The Journalist), Rahmet ve Gazap (Rahmet and Gazap), and Uyanık Gazeteci (The Vigilant Journalist) are the films based on the profession of journalism made during this era. The selected films discuss the freedom of the press, expression, and media ethics, and these themes are intertwined with the melodramatic element of 'love'. In the films, many dialogues show that the duty of the press is aiding justice or that a journalist must always defend press freedom and write the truth. Social obedience throughout the history of the Turkish Republic is also emphasised in these films.
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