Transformation of cultural markets is a complex development that relates to both the audience and the industry. During the last decade, domestic popular films in Turkey increased their share of box office significantly. This study analyses socio-economic developments along with monopolization of exhibition sector to understand the change. While factors such as higher income level, relatively lower ticket prices, higher proportion of population in education and urbanization created a new potential audience for domestic films, rise of a dominant player in exhibition sector broke the hegemony created by foreign distribution companies.
This chapter analyzes the transformation of political films in Turkey from the 1960s to the late 2010s. With the repression of labor movements after the 1980 military coup and parallel to neoliberal developments around the world, political cinema in Turkey changed dramatically. Earlier films, though in limited numbers, displayed overt political Marxist messages and, similar to radical political film movements of the time, aimed to move the audience to take action against exploitation. In comparison, in the absence of organized movements and under an oppressive political environment for a large part of the four decades since the 1980 military coup, more contemporary films have been political by displaying the lack of solidarity and struggle against that oppression. Accordingly, films with direct political messages aiming to move audiences to action are replaced with those exposing the shortcomings of the system with their portrayal of individuals squeezed in an existentialist impasse. As such, films, even the rare ones that aim to address contemporary sociopolitical issues, are now focused on the state of inability to express one’s self or criticize. The chapter focuses on films of Yılmaz Güney, the most prominent Turkish filmmaker, writings of Young Cinema members in the late 1960s and early 1970s, and films of Nuri Bilge Ceylan, a leading figure in contemporary Turkish cinema, with a particular focus on Ahlat Ağacı (2018) to analyze the evolution of political filmmaking in Turkey.
This research aims to analyze the relation between the director's casting in cinema and the language and narrative of a film with a focus on Nuri Bilge Ceylan's cinema. The alterations in the language and narrative of his films are examined by focusing on the changes in the selection of actors throughout his filmography. This article discusses the relation between his casting choices and the gradual increase of dialogues in his films, his cinema (consisting to some extent of photographic images being dramatized) becoming more talkative, the prolongation of the film durations, the director's centering the humans and their nature with a searcher soul. This research has a qualitative structure, and the case study method was used by examining the behind-the-scenes footage and interviews with the actors. After the first four movies in which he worked with amateur actors -including the short film Cocoon (1994), The Town (1997), Clouds of May (1999), and Distant (2002)- the film he took part as an actor himself, the Climates (2006), is considered as a transition point for his gravitation towards working with professional actors. He then worked with professional actors in his last four movies, Three Monkeys (2008), then Once Upon a Time in Anatolia (2011), Winter Sleep (2014), and The Wild Pear Tree (2018), which are differentiated from the first period films with amateurs actors. The reason for the change in the criteria of the casting process, the difference between amateur or professional casting, and his approach and the changes were analyzed in the light of the theories of Model Acting and System Acting. The effect of these changes was examined through Ceylan's cinematic language and the study aims to discuss how actor choices could affect the narrative assets of the film.
Özet Soğuk Savaşın ardından iç çatışmalara sahne olan Yugoslavya'dan geriye 7 ayrı ülke kaldı. Yugoslavya döneminde inşa edilmiş ortak değerler, yaşanmışlıklar, anılar; bu ülkelerde yaşayanların kolektif belleğinde var olmaya devam etmektedir. Yugoslav kırmızı pasaportun sağladığı hareket özgürlüğü, madenci ve işçilerin fotoğraflarının yer aldığı banknotların simgelediği eşitlikçi refah seviyesi gibi örnekler bu ortak değerleri yansıtmaktadır. Ancak 1990'lı yıllarda gerçekleşen savaşlar, yaşanan travmalar Yugoslav toplumlarının kolektif belleğinde büyük yaralar açmıştır. Yaşanan travma, Yugoslav değerlere belirli bir oranda kızgınlığı, nefreti ortaya çıkarmıştır. Ancak ilk dönem şokları atlatılınca Yugoslav değerlere karşı duyulmaya başlayan bir özlem ortaya çıkmıştır. Yugonostalji olarak ifade edilen bu geçmiş değerlere özlem duyma hali daha çok mevcut durumdan memnun olmamaya gösterilen bir tepki şeklinde ortaya çıkmaktadır.
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