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Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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 Journal of Selcuk Communication / Selcuk Iletisim is the property of Journal of Selcuk 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.)

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 Akademik Hassasiyetler is the property of Huzeyfe Suleyman Arslan 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 Journal of Academic Social Science Studies is the property of Journal of Academic Social Science 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 Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, 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.)

Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Globalization, advancing communication and transportation technologies, and changing in rural policies are contributing to the transformation of rural landscapes. Today, the interaction between urban and rural domains has witnessed an unprecedented surge. Concurrently, rural areas have evolved into coveted spaces of hopefor the urban middle class, particularly within the less dynamic yet migration-attracting rural regions of the Aegean. This article delves into the mechanisms through which these dynamic forces reshape rural Turkey, employing Turkish cinema as a lens for exploration. Interestingly, there has been an increase in the number of films choosing rural areas as a setting in Turkish cinema after 2000. Unlike their predecessors, predominantly commencing in villages and concluding in Istanbul, these films now initiate in Istanbul and culminate in rural landscapes. The study scrutinizes two prominent Turkish cinema productions—“Entelköy Efeköy’e Karşı” (2011) and “Mandıra Filozofu” (2014). Both films expound on the theme of urban exodus and a return to the nature. The analysis extends beyond the transformation in rural representation to encompass motivations for urban-to-rural migration, alterations in production methodologies, and the socio-economic metamorphosis of rural communities. Results indicate not only shifts in urban/urbanite and village/villager representations but also alterations in rural production methods and employment structures, culminating in the emergence of a complex, interwoven structure that extends beyond economic realms to social and spatial domains. While the primary impetus for reverse migration is identified as a desire to escape from urban life and embrace nature, the choice of the Aegean region as the migration destination in both films is explored. Additionally, the romanticized depiction of rural areas as pastoral, hopeful spaces is juxtaposed against the reality of these spaces being intricately entwined with the influences of capitalism and urbanization. [ABSTRACT FROM AUTHOR]

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) 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 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.)

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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 Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Journal of Media & Cultural Studies is the property of Journal of Media & Cultural 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 Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & 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.)

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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 Journal of Education for Life / Yaşadıkça Eğitim Dergisi is the property of Istanbul Kultur Universitesi 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 Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, 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.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Since the 2000s, the representation of religious social groups living in reference of religious values and traditions in Turkish cinema has been multiplying and diversifying. Films that interpret religiosity with a sociological motive are increasing while surpassing the productions in mainstream Turkish cinema that present reactionary, bigoted, and religious stereotypes. The films Çatlak (Fractured, Fikret Reyhan, 2020) and İki Şafak Arasında (Between Two Dawns, Selman Nacar, 2021) stand out as examples reflecting this new perspective. The two films focus on a religious new middle-class family who comes from the province's socio-economic background and tries to live according to their religious obligation while undergoing a process of adaptation to the modern life surrounding them. Their cinematography approaching the religious new middle class from within brings the two films side by side. In this respect, these films differ from their predecessors in placing religiosity at their periphery or center. In this paper, the dual status of household and public life is presented through the concept of online and offline borrowed from computer and network technologies. The concepts of online and offline, illustrate the individual desires and moral dilemmas that are covered up both in the household and in public life. The two films interpret the practices of the new religious middle class in and out of the household, and the problems arising from the dual understanding of morality and justice are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 Journal of Erciyes Communication / Erciyes İletişim Dergisi is the property of Erciyes University, Faculty of Communication / Erciyes Universitesi Iletism Fakultesi 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 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.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim 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 Etkileşim: Academic Journal of Uskudar University Faculty of Communication is the property of Etkilesim 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.)

Erken cumhuriyet ideolojisinin oluşumuna katkı veren Kadro dergisinin başyazarı ve farklı edebi türlerde eser veren önemli isimlerden Yakup Kadri Karaosmanoğlu, pek çok metninde yeni kurulan rejim adına konuşmakta, rejimin nasıl olması gerektiğini ifade etmektedir. Cumhuriyet ilan edildikten sonra Kadri, yeni rejimin kültür sanat hayatına ilişkin yazılar yazmakta, sanat türlerinin onunla birlikte kazanması gerektiği rolleri eserlerinde anlatmaktadır. Yakup Kadri, Cumhuriyet idealleri ile erken cumhuriyette karşılaşılan yozlaşma arasındaki çatışma nedeniyle, yazdığı Ankara romanında Neşet Sabit isimli karakterin sahneye koyduğu piyesini bir yol gösterici olarak konumlandırmakta, buna bağlı olarak o dönemlerde henüz az sayıda üretim yapan Türk sinemasını da romanda arzuladığı evrenin inşasında vazifelendirmektedir. Sinema, yeni kurulan bir şehirde yeni bir anlayışın öncüsü olacak, Sodom ve Gomore’de gelmesinden korkulan gelecekten Ankara romanında olmasını dilediği sancılı geçen bir gecenin umut dolu bir şafağına ütopyacı rolünü arttıracak bir araç olarak görülmektedir. Sinema çağdaş bir ütopya, aynı zamanda yerli bir içerik olarak görülmektedir. Çalışmada, Yakup Kadri’nin Ankara romanı dolayımıyla erken cumhuriyet döneminin sinemaya ilişkin görevci yaklaşımı söylem analizi kullanılarak tespit edilmeye çalışılmaktadır. Ankara romanında ve Kadro dergisindeki modernite anlayışı çerçevesinde yeni rejim yerli sinema kodları üzerinden arzulanan bir cumhuriyet ütopyası olarak tiyatronun yanında konumlandırılmaktadır.

The issue of how cinema should be, the influence of which on the society was indisputable for the intellectuals, became an important subject during especially 1960s in Turkey. During these years, the discourse of Islamism once again made an appearance in Turkish politics and thought in the form of a nationalist religious discourse. This study will examine the reproduction process of Islamist discourse on cinema and analyze the composition of Islamist film criticism. Even though the discourse of film criticism expressed as “arming up with the weapon of the enemy” seemed to come forward with its rejectionist attitude, it actually reflected an attitude toward harmony beyond measure. Redescribing cinema as an area dominated by symbolic violence caused the amorphization and reactiveness of cinema products. On the other hand, a second direction that opened a door for the imitation of the cinematic movements and products considered as rivals brought along the state of being bereft of identity despite its heavy emphasis on identity. The idea of “arming up with the weapon of the enemy” showed a continuity in the perception of cinema as a propagandist and political instrument. It became functional as a discourse activated by Islamists before they entered into the fields such as cinema production and film criticism, fields that were new to them. This understanding is based on a modernization-oriented approach that envisages a rupture with the tradition and distinguishing oneself from the existing cultural accumulation. It produces the content of this understanding by translating the dominant thoughts in the area on which it would like to exert its dominance into religious terminology. In that regard, it is a product of a mimetic cultural stance.

Copyright of ARTS: Artuklu Journal of Art & Humanities is the property of Mardin Artuklu University 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.)

Its important features have carried cinema far beyond being a source of art and entertainment. Many studies on cinema have dealt with it from different perspectives. In the study, cinema is examined from a broad perspective through many different studies on cinema and research on Turkish films in the Internet Movie Database (IMDB). The main purpose of the study is to examine the cinema industry in Turkey, in terms of providing a comparison opportunity, with the USA (Hollywood), which has an important place in the world cinema industry, along with India (Bollywood) and Nigeria (Nollywood). In the first two parts of the study, the development of Hollywood, Bollywood and Nollywood film industries are discussed. In the third chapter, the birth and development of Turkish cinema is examined. In the fourth part of the study, movie contents in Turkish cinema are presented with examples. In the last part, ideas on the future of Turkish cinema are put forward through a general evaluation of Turkish cinema. [ABSTRACT FROM AUTHOR]

Military controls, strikes, and coups have been important issues in Turkish political life and have been frequently discussed and evaluated in films from the early 1960s up to the first decade of 2000. Many directors from this period have made films on these issues and or their accompanying social problems. These films mainly serve to inform about the changes and transformations experienced in Turkey and to touch upon the dimensions of the social issues of the period. Through the many films he directed between 1965-2008, Kartal Tibet depicts the social issues of the period, often addressing them with a humorous language. This study aims to provide information about the political, social, and cultural structure of the period in Kartal Tibet's film Zübük (1980), to analyze the connections between movies and social events, to question the connection between the films and events in the historical process, and to reveal the humorous elements in Zübük (1980). This film reveals a perspective about the political, social, and cultural climate of the period. The study conducts a sociological analysis of Zübük, observing the film to highlight the themes of bureaucratic corruption, incompetence, poverty, class, status, bribery, favoritism, and injustice. The study also evaluates and interprets Zubuk using the method of descriptive analysis. [ABSTRACT FROM AUTHOR]

There is an enormous amount of data on the Internet. If desired, these data can be obtained by a method called web mining/scraping and can be used in information extraction. This research was carried out to obtain data about Turkish cinema by using web mining and to obtain various findings about Turkish cinema as a result of analyzing this data with text mining. In the text mining conducted on a total of 8596 TV and cinema films, it is seen that highest audience score belongs to the films Hababam Sınıfı (1975, p. = 9,3), Tosun Paşa (1976, p. = 9,0), 25 Liters (2019, p. = 8,9), respectively. It is seen that 13 of the 20 highest-rated films were made in the period called Yeşilçam in Turkish Cinema. 13 of these films were made in the Comedy genre. The list includes 8 films by Ertem Eğilmez, 2 films by Kartal Tibet and 2 films by Atıf Yılmaz as directors. After 1950, the year in which the most films were made in Turkish cinema was 1975 (275 films), while the year in which the fewest films were made was 2002 (20 films). Web mining method offers an alternative data acquisition method that can be used in many areas to obtain data on the internet with robot software or programming languages. This method has been used as an example to obtain various information about Turkish Cinema. The Internet has rich content that can be used in scientific research with big data sources. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches 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 Paradigma: Journal of Economics & Management Research / İktisadi ve İdari Araştırmalar Dergisi is the property of Gumushane University 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 Journal of Media & Communication Research / Uluslararası Medya ve Iletişim Araştırmaları Hakemli Dergisi is the property of Journal of Media & Communication 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 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 Journal of Social Research & Behavioral Sciences / Sosyal Araştırmalar ve Davranış Bilimleri Dergisi is the property of Journal of Social Research & Behavioral Sciences 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 Journal of Abant Social Sciences / Abant Sosyal Bilimler Dergisi is the property of Journal of Abant Social Sciences 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 Motif Academy Journal of Folklore is the property of Motif Yayincilik 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 Journal of Communication Theory & Research / Iletisim Kuram ve Arastirma Dergisi is the property of Gazi University, 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.)

Görsel kimlik, kurumların tanınması ve farklılaşması için çeşitli tasarım öğelerinin bir bütün halinde değerlendirilmesi gereken çalışmalardır ve logo da bu öğelerden biridir. Logo, kurumların diğer kurumlardan görsel açıdan ayırt edilmesine yarayan, kurumu hedef kitleye görsel olarak tanıtan ve hedef kitleyle duygusal bağ kurulmasına yardımcı olan önemli bir görsel kimlik aracıdır. Logolar, markaların güçlü oldukları yönleri vurgulayan ve markaların tanınmasında etkili olan özel tasarım ürünleridir. Bu çalışmada, Türkiye’de tiyatro ve sinema alanında birçok projenin gerçekleşmesine, sanatın-kültürel hayatın gelişmesine katkı sağlayan, sinema alanında son yıllarda en çok film üreten ve hasılat elde eden yapım şirketi olan Beşiktaş Kültür Merkezi’nin (BKM) kurumsal logosu, görsel kimlik açısından 01.05.2021-15.05.2021 tarihleri arasında analiz edilmiş, BKM’nin logosunu nasıl kullandığı, şekillendirdiği, logonun çağrışımları ve markaya katkısı logonun temel öğeleri bağlamında değerlendirilmiştir. Araştırma sonunda BKM logosunun, gerek tipografi gerek renk kullanımı ve gerek uygulama alanları bağlamında üzerinde düşünülmüş profesyonel bir çalışma ürünü olduğu saptanmıştır. BKM logosu görsel kimliği tamamlayıcı, markayı ön plana çıkartan ve her yerde temsil edebilecek bir tasarıma sahiptir. BKM logosu, Türk yapım şirketlerinin görsel kimlik çalışmalarında örnek alması gereken bir kurumsal kimlik materyali olarak dikkat çekmekte, görsel temsiliyet bağlamında sorunlar yaşayan yapım şirketleri için önemli çözüm önerileri sunmaktadır.

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) 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.)

Araştırma, gazeteci karakterin ilk sunulduğu Cici Berber’den (Muhsin Ertuğrul, 1933) toplumsal gerçekçi akımı da içine alan Yeşilçam’ın yükselişinin ilk dönemine kadar, 1933-1965 yıllarında sinemada gazeteci imajı/imgesini ele almıştır. Toplumlarda gazeteciye yönelik güven-güvensizlik konusunda ikircikli yaklaşım bulunurken, bunda filmlerde inşa edilen ve on yıllarca pekiştirilen imajların da etkisi vardır. Özellikle de ardılları için ilham ve model oluşturduğundan ilk dönemlerde kurulan ve basmakalıplaştırılan imajların tespiti kamunun süregelen bakışını ve gazeteci temsilinin sinemada kökenini anlamada önem taşımaktadır. Bu noktada Hollywood sinemasına dair birçok araştırma bulunurken, Türk sinemasında genel anlamda çok sınırlı, ilk dönemleri kapsayansa hiç araştırma olmadığı görülmüştür. Bu bağlamda çalışmada, gazetecinin ana veya etkin yan karakter olduğu 28 film, Campbell ve Vogler’in Kahraman Yolculuğu ile Amerikan filmlerinde gazetecilerin yolculuk şeması temelinde ve sinema genelinde gazeteci karakterine dair ortaya konan sınıflandırmalar, arketipler ve stereotipler üzerinden belirlenen parametrelerle analiz edilmiştir. Araştırma sonucunda, Türk filmlerinde gazetecinin yolculuğunda anlatının kendi özgün yapısını kurduğu görülmüştür. Filmlerde gazeteci kategorilerinden hem Hakikat Araştırmacısı hem Manşet Gazetecisi hem de ikisinin melez inşasına rastlanmış, klasik Yeşilçam’da iki tipleme de kahraman arketipine yerleştirilirken, toplumsal gerçekçilik filmlerinde ilkinin özgür basın temsilcisi ve kahraman, ikincisinin kötü adam ve güdümlü gazeteci olarak inşa edildiği tespit edilmiştir. Bunun yanında, Cici Berber’den itibaren gazetecinin haberi elde etmek için Kılık Değiştiren arketipinde, Yılmaz Ali’den itibaren de hafiye olarak sunumuna rastlanmıştır. Sinemada genelindeki gazeteci stereotiplerinin bir kısmı Türk filmlerinde de belirirken, özgün stereotip inşaları da bulunmuştur. Tüm bu temsillerin özünde basının gücüne dair mitlerin inşası dikkati çekmiştir.

While the history of environmental problems is as old as the history of mankind, the destructions caused by the human beings against the environment started to increase with the Industrial Revolution in the 19th century. With the phenomenon of the consumption society which emerged with the results of the industrial revolution, the concepts of human and nature have turned into a disjointed structure. Nowadays, while this situation continues to increase, environmental problems have reached the dimension of ecological crisis and moved to a global scale. On the one hand, nature is seen as an object and is exploited for human benefit; and on the other hand, environmental sensitivities have emerged against the negative effects of exploitation. In cinema, which is highly influenced by reality, that is, the issues that exist in social life, environmental problems have been discussed with different perspectives and genres for many years. The films produced in this context have increased in numbers especially in recent years. Although Turkish Cinema is quantitatively lacking in addressing environmental problems, it has been able to provide quality and consistent examples. In this study, three films of Derviþ Zaim, who is in search of new content, language and style in the recent period of Turkish Cinema, and who makes films in this direction, Devir, Balýk and Rüya, which emphasizes the perception of human beings transforming nature, are examined within the framework of ecocritical paradigm, and the findings were interpreted with the descriptive analysis method. As a result, these films, also called the nature-human trilogy, have drawn attention to the phenomenon of capitalism that disrupts human relationship with nature, the relationship of the mood that man sees himself as the master of nature, urban ecology and socio-nature concept. It is found that this trilogy of Derviþ Zaim has a real green discourse. [ABSTRACT FROM AUTHOR]

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Bu araştırmada, Yeşilçam filmlerinin, YouTube üzerinden yığınsal biçimde uzaktan erişime açılması olarak tarif edebileceğimiz güncel gelişmeden hareket edilmektedir. Bu çalışmanın ilk amacı, Dijital İnsan Bilimleri ve film üslubunun istatistiksel analizi alanlarına ait yöntem ve araçları kullanarak Yeşilçam filmlerinin üslup özelliklerini uzak okuma yaklaşımıyla incelemektir. Çalışmanın ikinci amacı ise 1960’lı ve 70’li yıllar boyunca filmlerin biçim ve üslup özelliklerindeki dönüşümü sinema endüstrisinin tarihsel gelişimiyle ilişkilendirmektir. Böylece, kaynak yığınlarından karmaşık veri setleri üretilmesine dayanan analiz biçiminin Türk sinema tarihi açısından potansiyeli ortaya konulabilmektedir. Araştırmada, bir grup filmin metrik ölçümlemesi yapılmış ve ortaya çıkan veri seti, Yeşilçam’ın biçimsel dönüşümünü anlamak için kullanılmıştır. Makalenin ana araştırma sorusu, ortalama çekim uzunluğuna (OÇU) ve buna bağlı diğer verilere bakarak, 1960’tan 1979’a uzanan süreçte Yeşilçam filmlerinin üslup özelliklerinin açıklanabilir olduğunu göstermektir. Sonuç olarak, incelenen dönemde filmlerin üslup özelliklerinin zaman içerisinde hem dönüşüm hem de süreklilik gösterdiği ortaya konmuştur.

Western türü sinemanın ilk zamanlarında ortaya çıkmış ve uzun bir dönem seyircinin büyük ilgi gösterdiği popüler türlerin başında gelmiştir. Dolayısıyla tür, film çalışmaları kapsamında farklıakademik yaklaşımlar çerçevesinde ele alınmıştır. Örneğin 1950’li yıllarda türe dair yaklaşımlar mitsel bir çerçevede teşekkül etmiştir. Akabinde Auteur teorinin film çalışmalarında etkin bir konuma doğru evrilmesi, western’lerin bu teori kapsamında irdelenmesine yol açmıştır. 1970’li yıllarla birlikte türe dair seyirci ilgisi azalırken, türe olan akademik ilgi yükselmiştir. Bu dönemde ön plana çıkan yaklaşım ise Will Wright’ın başını çektiği yapısalcı yaklaşım olmuştur. 1931-1972 yılları arasında çekilen western’leri yapısalcı yaklaşım ile inceleyen Wright western’lerde bulunan Amerika’nın modern mitlerini ortaya çıkarmaya çalışmıştır. Wright, western’lerde dört farklı anlatı yapısının takip edildiğini ve filmlerin yapısının bazı karşıtlıklardan oluştuğunu iddia etmiştir. Bu çalışmada Will Wright’ın yapısalcı yaklaşımı Türk sinemasında son dönemde çekilen tek western/komedi filmi olan Yahşi Batı (2009) filmine uygulanmıştır. Filmin Wright’ın yapısalcı yaklaşımına uygunluk gösterdiği tespit edilmiştir. Bu şekilde Wright’ın 1970’li yıllarda western’lere dair ortaya koyduğu yapısalcı yapının, ABD dışında nispeten yakın zamanda çekilen bir Türk western’inde de geçerliliğini koruduğu ortaya çıkarılmıştır.