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This paper tries to understand the human experiences in movie theatres and people's perception and receptions of films there. It is believed that people are the subjects of their movie experiences. Movie theatres may make a contribution to get cultural researchers and sociologists to understand the society in a better way as well as providing viewers to communicate with movie. Taken into account with the lack of the studies of social history applied in areas such as "from bottom history" and "human experiences", oral history projects which will take up the human activities, have a great importance. This study investigates that how Turkish people used movie theatres, how they perceived the movies and their characters, and how they transferred the movie experiences into their daily lives. The article focuses on the period between 1950 and 1980. There are few oral studies which take up Turkish movie history in different point of views such as cultural, sociological and historical ways. However, movie is a topic which has so many different aspects like space, film, relations between male and female, and connections between traditional and modern worlds, and contradictions between real and imagined domains. Every social history study, on the other hand, contribute to the Turkish cultural and social history. Based on space and movie theatre, this study aims such a contribution [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The need to be sustained by oral culture has been widely seen in the Turkish cinema since its early periods. However, this need has more often than not remained in theoretical level and could not deepen. Therefore, the profound impact of the folk stories could not have been reflected effectively to the movies made. For this reason, the majority of the movies made in that period, which were inspired by the folk tales, were considered as simple movies made for the market and thus criticized for being shot for commercial concerns. The theoretical discussions mentioned above were mainly concentrated around the movements called public cinema, national cinema or domestic cinema. Failure of these discussions to come out of the theoretical phase and proceed to the application phase has prevented the creation of an industrial sector. Also failure of the theoretical and artistic perception in the field of cinema to internalize the oral culture has stunted the culture industry as well and made it dependent upon the international market. While the film industry became a sector in international markets by deriving inspirations from the oral culture, it also became dominant within this county and turned into an important obstacle for the domestic cinema industry. The movies made in the period from 1950 to 1980, which is the period taken as sample range in this article, and inspired by the folk stories were also included in this process. Due to the reasons expressed above, although the Turkish cinema started in that period, it has failed to make a progress sustained by the oral culture, and therefore, the Turkish cinema is relatively behind the world cinema sector today. In this article, the genres of the elements of the oral culture used in the Turkish cinema between 1950 and 1980 will be displayed and the process developed when these genres are abandoned will be evaluated. Furthermore, the question of why the Turkish cinema has been unable to transform the local and national culture codes as well as the folk stories in a fantastic manner will be examined with a critical approach within the frame of cinema movements, directors and Yeşilçam [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkey Journal of Theological Studies is the property of Turkey Journal of Theological Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the safeguarding of intangible cultural heritage, instead of an object centered view point, tradition which contributes to the realization of process of cultural production is respected. As an element of intangible cultural heritage, the evil eye bead is an object in which beliefs, practices and elements of oral culture whose origins go back to shamanism acquire a character of their own. It has a special area of application depending upon these beliefs and practices. Evil eye bead also comes with a tradition in respect to its unique shape, color, structure and production technique which is transmitted from the master to the apprentice. The evil eye bead handled within the scope of the beliefs concerning the evil eye and traditions related to production is traditionally generated, transmitted and perpetuated today. Mahmut Sür listed as Living Human Treasure (LHT) is an evil eye bead master who updated the evil eye bead with regard to its form and color; and also the bead furnace in terms of representation and presentation by protecting the traditional structure of evil eye bead production. Mahmut Sür is a master who has created new areas of application for the evil eye bead with respect to culture industry through the updates he has made in the shape, color and presentation of the evil eye bead. Evil eye bead which is a symbol representing Turkey in the international milieu today via the impact of this master, has become an object that is demanded in many different fields of culture industry in addition to its belief based area of application. In this article, update of tradition is discussed through the example of evil eye bead master Mahmut Sür who is listed as Living Human Treasure and his production, within the frame of the concepts of evil eye bead tradition, transmission, transformation and culture industry. [ABSTRACT FROM AUTHOR]

Copyright of Ileti-s-im is the property of Universite Galatasaray, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, the relations between cultural economy and cultural industries with cultural heritage management are studied carefully. Giving shortly some knowledge on cultural industries, content industry, copyright industries, cultural heritage management, creative industries etc., the importance of the interrelation and cooperation between culture and economy for the socio-economic improvement is explained extensively. Moreover, it's emphasized that the experts of cultural sectors and cultural heritage management should cooperate closely and tightly. The Turkic countries beginning to improve their cultural heritage need new programmes and approaches and also founds. In this scope, cultural sectors including cultural tourism, core arts, cultural industries and creative industries must be accepted as the main sources. At the new age, culture is an important source of income for the countries' budgets like European countries, United States of America and Japan. So there is a strong competition in the world cultural economic market. On the other hand, it must be needed the huge budget for countries to realize and apply UNESCO's conventions on the preservation of the tangible and intangible heritage. Therefore, this cooperation between culture and economy is indispensable. As a result, especially Turkic countries should "value" their heritage in point of cultural economic view. [ABSTRACT FROM AUTHOR]