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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.)

This scholarly article examines the depiction of the Gypsy community in Turkish cinema, focusing on 44 films released between 1950 and 2012. The aim of this study is to critically assess whether Gypsy characters in these films are portrayed merely as stereotypes or as fully realized characters with depth and complexity. This interest stems from the broader societal fascination with diverse cultures, particularly how mainstream narratives handle the customs, life experiences, and viewpoints of the Gypsy people. The research method entails a detailed content analysis of films that feature Gypsy characters, with specific attention to how these characters navigate their identities and the concept of 'otherness'. The term "Gypsy" is used thoughtfully throughout the paper, adhering to preferred contemporary nomenclature that respects the community’s identity while distancing from historically laden and pejorative labels. Results indicate a predominance of stereotypical portrayals within Turkish cinema, with Gypsy individuals frequently depicted as fortune-tellers, thieves, sorcerers, and exotic dancers who engage in colorful, musical performances. These characters often lack depth and are portrayed using a limited range of behaviors and language styles, which fails to capture the full breadth of the Gypsy identity. The study concludes that Turkish cinema has largely failed to move beyond superficial depictions of the Gypsy, highlighting a critical need for more nuanced and respectful representation in film. This paper contributes to the discourse on media representation of ethnic minorities, calling for a shift towards portrayals that genuinely reflect the diversity and richness of Gypsy culture. [ABSTRACT FROM AUTHOR]

This study explores the Arabesk films of Orhan Gencebay and their representation of masculinities. It compares their approach with that of other Yeşilçam melodramas within the productive years of the Turkish popular cinema between the late 1960s and 1980, focusing on the treatment of fallen women and men's corporeal performances in need of female approval. Gencebay's filmography presents an opportunity to decipher an indecisive, modernized and quasi-authentic masculinity constructed upon the moral dilemmas engendered by the absence of traditional village relations in an urban setting. Although Arabesk masculinities have a generally positive attitude toward fallen women and present a milder approach to tradition, they often fall back on patriarchal modes of thought by putting the emancipation of women down to men, thus finding common ground with other masculinities prone to violence in Turkish cinema of the period. [ABSTRACT FROM AUTHOR]

The 1980s was marked by the emergence of new cinematic forms in Turkey, including films concerning issues related to various forms of women's oppression involving sexual objectification, rape, and subordination. Through a close textual analysis, this article discusses how the 1982 film Iffet attempts to create a rape–revenge story, romanticizing sexual aggression against women through hysterization of the protagonist. This study examines the film's representation of the concepts of patriarchy, honor, virginity, and hegemonic masculinity within Turkey's socio-political atmosphere in the 1980s. Mulvey's feminist film theory and Brownmiller's description of rape myths were used for the analysis. [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 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.)

My Father's Wings by Kıvanç Sezer (2016) shows us how loneliness and desperation are experienced, based on a case of a Turkish construction worker. This article analyzes the film My Father's Wings using the film sociology methodology and focusing on gender and the approach of the Turkish cinema industry that has emphasized emotions after the 2000s. The intertwined experiences of masculinity crisis and being a worker are discussed by articulating Turkish cinema and Turkey's social and political dynamics in the analysis of the film. Based on the film, the collapse of the two pillars on which masculinity is built as the head of the family and the master worker and individualization in the working class and society in general are discussed within the political and social atmosphere that resulted in everyone's withdrawal to their own world.

While gender inequality remains to be a phenomenon that impacts women globally, the different challenges women are facing in the Mediterranean region where cultural values of honor function as barrier to women’s emancipation beyond the patriarchal structure is often overlooked in the academic literature. This article investigated the representation of two Mediterranean women in the films Mine (1982) and Malena (2000) by examining the problematic effects of patriarchal fantasy, internalized sexism, and female rivalry on the two main characters within the sociocultural framework on gender. Representation of social norms, and their relationship to codes of honor were analyzed in how they reflect the protagonists’ oppression under the patriarchal structure. Through narrative analysis of the two films, the study investigated whether the codes of honor play a role in the maintenance of gender inequality in the Mediterranean region.

Queer representations in cinema are both influenced by and reflective of local or global cultures. In the context of Turkish cinema, patriarchal Turkish culture often negatively impacts the portrayal of queer identities. These portrayals tend to reflect society’s view of queers rather than illustrating their actual place within society. This study examines the evolution of queer representation in Turkish cinema from its inception to the present, highlighting queer identities and representation issues through the lens of Judith Butler's queer theory.

Yusuf ile Kenan (1979) and Masumiyet (1997) portray realistic ignored, neglected and deprived childhood in Turkish cinema. This article sets out to analyse the realistic depictions of child image focusing on displacement and destitute. Although displacement is dealt with broader senses of war and its consequences, this article, adapting an alternative discourse sets out to analyse the displacement in terms of family and homely atmosphere. First, I will present the odyssey of child image during the course of Turkish cinema. I aim to position elusive depiction of child image in Yusuf ile Kenan (1979) and Masumiyet (1997). Following spatial and narrative analysis in two steps, I will discuss the realistic destitute child images in these films in two parts: (a) spatial analysis focusing loss of home and (b) agency of child characters in narrative. I propose that realistic child image in these two films were constructed through delinquency and aphasia.

In this article, my goal is to reveal the importance and potential of global history, an approach that is generally neglected in media and film history literature. The main characteristics of global history are de-centralizing history, taking a wide spatial and temporal perspective, avoiding Eurocentric and nationalist optics, and explaining patterns of causalities behind connections. I begin by explaining global history before presenting the differences between global history and similar approaches used in film and media studies literature. Then, I focus on a potential case study, the phenomenon of foreign music used as soundtracks in Turkish domestic films between the 1950s and the 1980s. I demonstrate how the 'borrowed soundtracks' creates a hitherto unstudied connectedness between disconnected audiences from different countries or societies. I consider the soundscapes of the films as a space of aural encounter, and I argue that global history would enable us to understand the emotional, cultural, and economic layers of this indirect connectedness. [ABSTRACT FROM AUTHOR]

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.)

Queer representations in cinema are both influenced by and reflective of local or global cultures. In the context of Turkish cinema, patriarchal Turkish culture often negatively impacts the portrayal of queer identities. These portrayals tend to reflect society's view of queers rather than illustrating their actual place within society. This study examines the evolution of queer representation in Turkish cinema from its inception to the present, highlighting queer identities and representation issues through the lens of Judith Butler's queer theory. [ABSTRACT FROM AUTHOR]

Yusuf ile Kenan (1979) and Masumiyet (1997) portray realistic ignored, neglected and deprived childhood in Turkish cinema. This article sets out to analyse the realistic depictions of child image focusing on displacement and destitute. Although displacement is dealt with broader senses of war and its consequences, this article, adapting an alternative discourse sets out to analyse the displacement in terms of family and homely atmosphere. First, I will present the odyssey of child image during the course of Turkish cinema. I aim to position elusive depiction of child image in Yusuf ile Kenan (1979) and Masumiyet (1997). Following spatial and narrative analysis in two steps, I will discuss the realistic destitute child images in these films in two parts: (a) spatial analysis focusing loss of home and (b) agency of child characters in narrative. I propose that realistic child image in these two films were constructed through delinquency and aphasia. [ABSTRACT FROM AUTHOR]

Films are meticulously crafted using visual aesthetic elements, where mathematics and geometry play pivotal roles. Camera angles, timing in editing, staging sequences, lens specifications, and lighting ratios, demonstrate the intricate relationship between cinema and mathematics. Specifically, the virtual projection of isosceles and equilateral triangles is utilized in object positioning before the camera. Additionally, forms such as circles, squares, and rectangles are frequently employed in stage design. Number combinations, sequential numbers, and patterns are also common techniques used to enhance visual aesthetics in films. Fundamental components such as oblique, horizontal, vertical, and parallel lines are instrumental in achieving visual appeal. In our research, we investigate the properties of these components as they are discussed in scientific publications and their relevance to aesthetics. In this context, a comparative and quantitative analysis is conducted on 2001’s “Harry Potter and the Philosopher’s Stone” and the Turkish film “The Conquest 1453” (known as Fetih 1453 in Turkey). It is observed that “The Conquest 1453” employs excessive mathematical and geometric data, which somewhat diminishes the thematic strength of the film. In contrast, “Harry Potter and the Philosopher’s Stone” demonstrates a more balanced use of these elements.

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]

In this review article, I focus on the online portal of Turkish Ministry of Culture and Tourism, General Directorate of Cinema. This portal which provides open access to the institution's film archive contains very important materials about the cultural, social, and political history of Turkey and the region. After introducing the main features of the portal, I reflect on the historical importance of its content. I also make comparisons with similar portals for elaborating on issues of cataloging, metadata and interactivity. [ABSTRACT FROM AUTHOR]

While gender inequality remains to be a phenomenon that impacts women globally, the different challenges women are facing in the Mediterranean region where cultural values of honor function as barrier to women's emancipation beyond the patriarchal structure is often overlooked in the academic literature. This article investigated the representation of two Mediterranean women in the films Mine (1982) and Malena (2000) by examining the problematic effects of patriarchal fantasy, internalized sexism, and female rivalry on the two main characters within the sociocultural framework on gender. Representation of social norms, and their relationship to codes of honor were analyzed in how they reflect the protagonists' oppression under the patriarchal structure. Through narrative analysis of the two films, the study investigated whether the codes of honor play a role in the maintenance of gender inequality in the Mediterranean region. [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 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.)

The film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in comparison with the periodical conjuncture. With the purposeful sampling management, the films in which the teacher was represented from 1940 to 1980 were compared with the conditions of the period in which they were shot, and their reflections on the society and the teacher were examined. [ABSTRACT FROM AUTHOR]

While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayurt OteliÖmer Kavur-hero: Zebercet, Uzak-Nuri Bilge Ceylan-hero: Mahmut), which were shot in a realistic theme, and to reveal how they developed their heroes and what kind of experience they offered to the audience with the heroes they presented, starting from the literary narrative genre Epos. Based on the concept of objectivity, the presentations of the heroes were examined by using the cinema's own language and forms with the cooperation of the screenwriter-director. [ABSTRACT FROM AUTHOR]

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 Turkish Journal of Film Studies / Türkiye Film Araştırmaları Derneği is the property of Turkish Journal of Film Studies / Turkiye Film 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.)

The film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in comparison with the periodical conjuncture. With the purposeful sampling management, the films in which the teacher was represented from 1940 to 1980 were compared with the conditions of the period in which they were shot, and their reflections on the society and the teacher were examined.

While the narrative tradition, which has been developing for thousands of years, can be examined by dividing it into three parts as Drama, Lyricos and Epos, since the discovery of cinematography 127 years ago, narrative in cinema has developed narratives parallel to the two most basic theories of cinema, Realistic Film Theory and Formalist Film Theory, as well as contributing to experimental, feminist, etc. narratives in addition to these theories. The main purpose of this article is to examine three different pioneering films and heroes of Turkish Cinema (Umut-Yılmaz Güney-hero: Cabbar, Anayurt Oteli-Ömer Kavur-hero: Zebercet, Uzak-Nuri Bilge Ceylan-hero: Mahmut), which were shot in a realistic theme, and to reveal how they developed their heroes and what kind of experience they offered to the audience with the heroes they presented, starting from the literary narrative genre Epos. Based on the concept of objectivity, the presentations of the heroes were examined by using the cinema's own language and forms with the cooperation of the screenwriter-director.

This article offers a critical reading of Nuri Bilge Ceylan's Ahlat Ağacı (The Wild Pear Tree) through an exploration and critique of the mythmaking and monumentalization surrounding the Gallipoli Battle and the multiple ways in which Ceylan's film unsettles the foundational myths of the last century in Turkey. Ceylan's scenes and characters are constructed in such a way that the male characters and particularly Sinan (the main character) refuse to succumb to hegemonic codes of masculinity. Through this cinematic refusal by an anti-hero (Sinan), the film addresses the crisis of hegemonic masculinities in their interconnectedness to militarism, nationalism, capitalism, and heteronormativity. Through Sinan's quest for self-realization, the film signals not only the impotence and vanity of nationalist masculinities but also the caesuras and instabilities in national myths. As the last film of Nuri Bilge Ceylan's new Land of Ghosts trilogy, which started with Once Upon a Time in Anatolia and Winter Sleep , Ahlat Ağacı seems to close the cycle with a final scene that bespeaks the possibility of unearthing lost others of national mythmaking, bringing fertility and hope to the lands in which collective amnesia reigns supreme. [ABSTRACT FROM AUTHOR]

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.)

Between the 1970s and 1980s in Turkey, there were various problems such as rapid urbanization, migration from village to city, economical problems such as embargo and neoliberalism and political violence over the military coups. Our study focuses on the problems experienced by children which lead to child victimization through Turkish movies. In our research, we used deduction and induction methods together. Based on the political and economic developments in the period between 1970 and 1980, we looked at how these dynamics were reflected in the films by thematic analyze method. Here are the themes that we found in the films which are commonly used in relation to children in cities and their urbanization, child marriage, smuggling, political violence and education. In conclusion of the Turkish press and movies and according to the interviews we did with the people who witnessed those periods, the problems related to children manifest themselves quite heavily and negatively. The Turkish society, which is experiencing a rapid urbanization process, has continued the patriarchal, sexist, religious-conservative and statist discourse they brought from the feudal village life in modern cities as well. While this is a problem that the press and cinema criticize with a common approach, it is seen that children are also a part of this process.

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.)