The Routledge Dictionary of Turkish Cinema

Dönmez‐Colin, Gönül

doi:10.4324/9781315858623

Cited by 18 publications

(8 citation statements)

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“…14 All three directors have been praised for the realism of their filmed depictions, for being 'authentically local' from 'subject, characters, and environs to the interpersonal relationships' that their films display. 15 Still, one Turkish critic writes that despite his conscious efforts to break free of studio conventions, Güney remained a product of Yeşilçam, even at the end when working in France with a two million Franc budget. 16 Chahine confounded critics and audiences throughout his career by injecting musical numbers and other melodramatic elements into his most serious work.…”

Section: Modernity and Madnessmentioning

confidence: 97%

Three Tales of Obsession: Crosscutting Boundaries in Middle Eastern Film

Gordon

2016

History Compass

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By examining three classic neo-realist films directed by three cineastes from three different countries between 1958 and 1970, I attempt to engage a dialogue across boundaries of Middle Eastern film. Each film has been discussed in contexts of national cinema traditions with references to Western and Third World film, but rarely if ever in the context of regional, multi-lingual cinemas with which they share most in terms of theme and content. Representative of a national moment, the intersections of modernity and social dislocation, and centered on who loses his sanity, they constitute a not-so-accidental trilogy that blurs boundaries between realism and melodrama.

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Section: Modernity and Madnessmentioning

confidence: 97%

Three Tales of Obsession: Crosscutting Boundaries in Middle Eastern Film

Gordon

2016

History Compass

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“…The 2004 Cinema Law (and the current 2019 law, Law No. 7163) combined previous control commissions of Istanbul and Ankara and renamed it the Evaluation and Rating Commission (ERC), suggesting that censorship boards of the previous decades had been abolished, as several academics argue (e.g., Dönmez‐Colin 2008; Kaya Mutlu and Koçer 2012). I disagree based on my research.…”

Section: Film Censorship and Regulation Practices: Post‐2000mentioning

confidence: 99%

“Found Objectionable”

Ban

2023

Visual Anthropology Review

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I explore how film censorship has increasingly shaped film production and circulation at film festivals, public screenings, and theatrical releases in post‐2000 Turkey. I argue that film censorship in Turkey now works through two levels. First, through direct intervention, whereby state institutions continue to censor film production. Although the renaming of control commissions from previous decades via the 2004 “Cinema Law” creates the illusion that censorship boards have been abolished, fieldwork data proves otherwise. Secondly, state institutions designate various non‐state actors as proxies of the state and grant them well‐calculated power to employ on their behalf when necessary. I draw upon fieldwork data and case studies to analyze how the political climate in Turkey has suppressed cultural production, freedom of expression, and political resistance to the Justice and Development Party (AKP) government both through bans on artistic expression and processes of delegitimization, targeting, threats, and violence.

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“…However, the majority of the films were produced in Turkey, in Turkish, and for the national audience. The word Yeşilçam does not only refer to the name of this domestic film industry, but also identifies the films it produced, the films' narrative structure, and the related movie-going experiences of the audience (Akbulut 2012;Arslan 2011;Dönmez-Colin 2014;Erdoğan and Göktürk 2001;Kaya Mutlu 2010;Özön 2010;Refiğ 2009;Scognamillo 2003;Yıldırım 2016).…”

Section: Tracking Down Yeşilçam In Historymentioning

confidence: 99%

Mapping Yeşilçam: A relational approach to the Turkish film industry

Şavk

Doğu

2021

cinej

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Turkey’s Yeşilçam film industry produced more than 5500 films during its lifetime of 40 years. The industry had a unique narrative approach shaped around its economic model, Turkey’s ambivalent connection with modernization and the country’s domestic culture. Yet, particular characteristic qualities of the industry remained rather limited up until the last decade, in which vast databases were built up as a consequence of the digital turn. In this study, we develop a relational approach and conduct network analysis to the Yeşilçam with the aim to better understand the patterns of its constitution. Our findings suggest that Yeşilçam was not a homogenous industry as often considered by the film scholarship, rather divided into two main clusters in which professional, narrative and financial dynamics were significantly different.

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The Routledge Dictionary of Turkish Cinema

Cited by 18 publications

References 0 publications

Three Tales of Obsession: Crosscutting Boundaries in Middle Eastern Film

Three Tales of Obsession: Crosscutting Boundaries in Middle Eastern Film

“Found Objectionable”

Mapping Yeşilçam: A relational approach to the Turkish film industry

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