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Even though daily life and cinema seem like separate worlds, they are actually in deep interaction. Everyday life includes individuals' daily routines, habits, social interactions and ordinary lives. Cinema, on the other hand, is an art form that tells stories and presents the experience of emotion and thought using visual and auditory elements. In this context, the relationship between daily life and cinema is important for understanding how ordinary lives can be used as a platform for artistic expression and finding meaning, and the effects of this interaction on the audience. Both the reflection of daily life in cinema and the impact of cinema on daily life create a culturally rich area of interaction and sharing. This study aims to examine how the sociology of daily life and cinema are in a relationship. In the article, it is discussed how cinema can be used as a resource while examining the daily life sociology, people's daily routines, habits and social interactions. Along with this, the potential of cinema to tell the social reality and reflect the social dynamics of the society is also emphasized. The article also focuses on the common points and interaction of daily life sociology and cinema. It is discussed how the two disciplines feed each other, how cinema represents everyday life, and how sociology uses cinema as a resource. In this context, the relationship between the sociology of daily life and cinema is analyzed through the movie "Neşeli Hayat". While the film shows the effects of economic problems in social life and the daily lives of individuals, the similarities of daily life sociology and cinema and how they complement each other are emphasized. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Humanities & Tourism Research (JoHUT) is the property of Journal of Humanities & Tourism 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 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.)

The concept of anarchism has been overshadowed for a long time due to its critical approach to the social system and its negative connotations, but it is an active and influential worldview that is no less active and influential than other ideologies in terms of intellectual and social impact. It is inconceivable that anarchism, which has many influences in the social-political phenomena of the historical process, in the studies conducted in different fields and in the utopian universe of thought, does not naturally affect cinema. In the first part of this study, the conceptual approaches of anarchist theorists were examined and the topography of the anarchist influence experienced in the world was tried to be understood. In the second part, the main focus is to see the effects of anarchism on the cinematic universe and to examine its qualitative indicators and ideological plan based on the film sample. [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.)

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.)

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.)

Copyright of Social Sciences Studies is the property of Social Sciences 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 Bolu Abant Izzet Baysal University Journal of Faculty of Education / Bolu Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi is the property of Bolu Abant Izzet Baysal University Journal of Faculty of Education 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 Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences 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 Journal of Social Sciences Research / Sosyal Bilimler Arastirmalari Dergisi is the property of ODU Journal of Social Sciences 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 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.)

This study aims to explore the interplay between environmental psychology, architecture, and cinema in shaping cinematic spaces through spatial analysis. It also endeavors to provide insight into dystopian urban and spatial designs influenced by environmental psychology concepts, ultimately impacting the quality of these fictional environments. Examining the pivotal era of heightened interest in environmental psychology studies, particularly in understanding the reciprocal dynamics between physical surroundings and human behavior, the 1973 dystopian film "Soylent Green" was scrutinized using deductive methodology. The analysis focused on key elements such as personal space and its role in shaping self-esteem experiences, the diverse and intense activities within the behavioral environment, as well as obligations and privacy concerns in densely populated, spatially-defined settings. The findings indicate that cinema and architecture extend beyond their temporal and spatial dimensions, revealing a profound integration with living spaces and a diverse array of life experiences. Furthermore, it underscores how spatial behavior and environmental information exchange in cinematic environments are intricately linked to emotional responses and societal advancements. [ABSTRACT FROM AUTHOR]

The metaverse is one of the most popular concepts of recent years. The reason the concept is so popular is because it defines a futuristic world that promises great technological change. Although the components of this new technology-based universe seem to be a new field for humanity, it is well known that Hollywood cinema has long explored themes related to other universes. This study approaches the concept of the metaverse along the axis of the role of the culture industry and Hollywood cinema in the construction of technology. The study focuses on how the metaverse is represented in cinema and what kind of metaverse conception is conveyed. To this end, the film literature was scanned and sixteen films were identified. The films were examined to see how the technology associated with the metaverse is reflected in cinema. An attempt was also made to establish a link between the science fiction-oriented cinematic narrative and the contemporary metaverse phenomenon. It was concluded that in times when the concept of the metaverse was not yet technologically visible, a basic metaverse perception was created through cinema, a metaverse frame was drawn and a technological perspective was created with futuristic approaches. [ABSTRACT FROM AUTHOR]

Çalışmanın ana konusunu oluşturan göstergebilim, her sanat dalında olduğu gibi sinemada da filmleri anlama noktasında sıkça başvurulan etkili bir yöntemdir. Örtülü anlamları ortaya çıkaran göstergebilim sinema dilinin anlaşılmasını sağlayarak; filmleri anlaşılır hale getirmektedir. Bu çalışma, göstergebilim ve sinema arasındaki ilişkiyi yeniden aydınlatmak, literatüre göstergebilimsel analiz yöntemi ile yeni bir film okuması kazandırmak üzere kaleme alınmıştır. Çalışmada, araştırma nesnesi olarak seçilen 1964 yapımı Roger Corman’ın Kızıl Ölümün Maskesi filmi Saussure’ün gösterge çözümlemesi ve Roland Barthes’ın anlamlandırma yöntemi temel alınarak analiz edilmiştir. Bu filmin ve yönetmenin seçilmesinin nedeni ise insanın mutlak sonu olan ölüm fenomenine yönelik birçok göstergenin izleyiciye/okuyucuya film boyunca sunuluyor olması ve Roger Corman’ın ölüm ve korku temalı filmlerde en başta gelen yönetmenlerden birisi olarak bilinmesidir. Tüm bunlardan hareketle araştırmacılar filmden belli sahneleri seçerek, yönetmenin filmde gösterge ve kodları ne şekilde kullandığını araştırmış; göstergelerin ürettiği anlamlar, çözümlenmeye ve yorumlanmaya çalışılmıştır. Çalışmanın sonunda filmde kullanılan göstergeler üzerinden açık bir şekilde ölümün mutlakiyeti ve ölümden kaçışın olmayacağı hususunun açıkça vurgulandığı değerlendirilmiş, en önemli sonuç olarak da ölümün sınıfsal bir ayrım gözetmediği gerçeğinin vurgulanıyor olması çalışmanın temel bulgularıdır.

Cinema has been influenced by mythology since the first years of its invention. Mythological elements, which are frequently used in today's cinema, are used as an important reference. Cinema strengthens the narrative language by reproducing myths and creating new myths. Cinema, which has a strong and effective aspect in this respect, reflects the unconscious of the masses in human history. Considering the similarities of cinema with mythology, dream and reality are intertwined while cinema reshapes reality. Both cinema and mythology use experiences that are constantly repeated throughout generations through archetypes that have been in our collective unconscious since ancient times. Therefore, today, cinema appears as a reshaped form of mythology. In this process, film directors have almost become myth-tellers. At this point, cinema, just like myths, has changing and even transformative effects on society. Especially with the studies of writer Joseph Campbell in the field of mythology, the "monomyth" theory - the hero's journey - was adapted to the filmmaking process in cinema. An example of the work that offers a different cinematic experience is the movie "Dark City" (1998), directed by Alex Proyas, which deals with sociopolitical, scientific and philosophical themes as well as mythological elements. Functionally, the film makes one think about the questioning of human nature and the concepts of identity and memory. The journey of John Murdoch, the protagonist of the film, is designed in accordance with Joseph Campbell's theory of the hero's journey. The hero's journey is a fictional structure frequently used in mythological stories. The hero's journey in the movie "Dark City" follows the outline of Joseph Campbell's hero's journey scheme. The hero breaks away from his normal life and finds himself in an adventure where reality is questioned. This adventure provides opportunities for his personal growth and transformation, and eventually the hero discovers his true identity and power. "Dark City" is a science fiction film inspired by ancient mythological stories and Jungian psychology. In this regard, the study aims to look at various aspects of the film from a psychoanalytic perspective. It is aimed to examine the symbols and cinematographic techniques used in the film, the archetypal characteristics of the characters in the film and mythological references. [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 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 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 Selcuk University Social Sciences Institute / Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Journal of Selcuk University Social Sciences Institute 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.)

Copyright of Abant Journal of Cultural Studies is the property of Abant Journal of 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.)

This study aims to conduct a content analysis of "Avatar II: The Way of Water" in the context of transhumanism and bioethics. The film is chosen for its portrayal of the journey of humanity evolving through technology, transforming into a posthuman entity, and depicting the interaction of the human spirit with nature. The content analysis explored links and disagreements between transhumanism and bioethics. The film provides examples aligning with transhumanism's goal of enhancing human physical and cognitive abilities, exceeding natural limits, raising bioethical concerns. The film emphasizes a harmonious life with nature, supporting transhumanism's objectives to enhance abilities beyond natural limits. Additionally, it portrays the human inclination to dominate nature through cyborg-style machines employed by soldiers pursuing physical perfection. [ABSTRACT FROM AUTHOR]

In the ancient Greek world, the concept of 'miasma,' which becomes permanent and has the potential to grow over time due to evil acts such as murder committed in the city, is a concept frequently referred to in many classical tragedies. To the extent that miasma has a bad connotation due to its nature and is a situation that occurs due to evil actions, it can be considered together with the philosophical problem of evil. In this study, we aim to examine the concept of miasma by focusing on the characters in La Jauría, one of the most prominent films of recent South American cinema, rather than a purely conceptual analysis of the concept. Filmed in the jungles of Colombia and directed by Colombian director Andrés Ramírez Pulido, the 2022 film La Jauría is a psychological drama that focuses on the lives of young people involved in crime. The tragic story of Eliu, the protagonist of the film, which takes place mainly in a prison specially designed to rehabilitate inmates, seems to us to be a very suitable focal point for examining the concepts of miasma, catharsis, and ecstasy, which are frequently referred to in ancient Greek tragedy. To do so, we will first address the various contexts in which miasma has been used historically, considering the flow of events in the movie La Jauría. Then, we will look at the relationship of the concept of miasma with the problem of evil. Finally, we will discuss the possibilities of the concept of purification, which is seen as a kind of antidote to miasma. [ABSTRACT FROM AUTHOR]

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 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 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.)

Sinema ve felsefe bağlamına odaklanıldığında filmler, nitelikli düşünme sürecinin önemli bir formu olarak değerlendirilmektedir. Sinemanın felsefenin bazı kavram ve yöntemlerini yorumlamada güçlü yanları bulunduğu varsayımına dayanan yalın sav üzerine kurulu bu nitel çalışmada fenomenolojik yöntemin romantik bakışla kesiştiği durumlar, bir film üzerinden analiz edilmektedir. Romantik bakışın görmenin fragmanlaşmasıyla çakışan serüveni, fenomenolojinin özne-nesne ilişkisi bağlamında ele alınmaktadır. Görme engelli bir öğretmenin kendisi gibi görme engelli öğrencilere verdiği hayal kurma derslerini içeren Imagine (2012) filmi, kapsam ve sınırlılık ekseninde amaçlı örneklem tekniği ile bu çalışmanın araştırma nesnesi ve örneklemi olarak seçildi. Yapılan çözümlemeden ve analizden hareketle, kuramsal çerçeve ve ele alınan filmsel metin arasındaki ilişki ekseninde sinema ve felsefe ilişkisi içerisinde hayal âleminin bir benzerini üreten bir form olarak sinemanın felsefe yapılacak bir zemin olarak güçlü olduğu değerlendirmesini yapmak ve iddia etmek mümkündür. Dahası varlıkbilim zemininde fenomenolojik yöntemin askıya alma ve transandantal deneyim gibi tekniklerin, film-düşünme pratiğinde somutlaştırılabildiği yapılan çalışma sonucunda görülmektedir.

Mona Lisa’nın Gülüşü, okul-öğrenci-öğretmen ilişkisi bağlamında kadın eğitimini işleyen bir filmdir. Eğitim konusunun sinemaya yansıtıldığı örnek yapımların sayısı oldukça fazla olmakla birlikte bu filmde 1950’ler Amerikasının kadın eğitimi anlayışı, kadınların eğitimi konusunda köklü bir kurum olan Wellesley Koleji örneğinden hareketle işlenir. Wellesley Koleji, kuruluşundan günümüze dek kadın eğitimi konusunda çok önemli faaliyetler gerçekleştirmiştir. Bu açıdan kolejin tarihsel gerçekliğinin yanı sıra eğitim ilkeleri de konservatist ve liberalist eğitim anlayışlarının filmin senaryosunda en önemli çatışma unsuru olarak işlenmesine olanak sağlar. Filmin olay örgüsü ve tematik yapısı, söz konusu karşıt eğitim anlayışlarının çatışması üzerine inşa edilen fiktif evrenin analizi çerçevesinde tahlil edilmiştir. Filmde özgürlükçü eğitim anlayışı özellikle kadın eğitimi konusunda feminist bir karakter göstermektedir. Mona Lisa’nın Gülüşü, ilk bakışta kadın haklarına odaklanan bir film olarak görülebilir. Ancak filmde örtük olarak işlenen başka izlekler de vardır. Bu çalışmanın amacı, Mona Lisa’nın Gülüşü filmine dair yapılan çalışmalarda feminist yöntemle yapılan söylem analizlerine, eğitim odağında içerik çözümlemesi yaparak katkı sağlamaya çalışmaktır.

People use various communication tools while exporting their feelings and thoughts. Among these tools, telephone, television, internet and social media applications are mostly preferred. This virtual world made on visuality brings a lot of meanings and information to the society. Rapidly advancing technology has affected every aspect of life, especially playing an active role in the progress of cinema. Although sound, light and actors are the elements that determine the cinema, the costumes determine the image. The costumes of the actors, which are prepared in accordance with their characters, form a whole with the scenario. Costumes with different indicators and accessories that complete the costumes have different meanings. While they have characteristics specific to the individual, they also contain messages that concern the society. In this study, the messages, semiotic and cultural codes that are intended to be conveyed through the costumes of Cruella, the main character of the movie 'Cruella', were analysed. While making these analyses, Barthes' signification scheme was used. The description and visuals of the five costumes and accessories she wore in different scenes of the movie were prepared in the form of a table. Literature review about cinema and costume was used. The costumes examined were researched, explained and evaluated and interpreted within the scope of the subject. [ABSTRACT FROM AUTHOR]

Copyright of Istanbul University Journal of Women's Studies / İstanbul Üniversitesi Kadın Araştırmaları Dergisi is the property of Istanbul University Journal of Women's 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 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 Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts 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 Mona Lisa Smile explores the dynamics between female students and their educators. There are several great movies that deal with the topic of education, but this one is particularly noteworthy because it uses Wellesley College, a historically significant women's college, as a case study for illuminating the state of women's education in the United States in the 1950s. The film's central conflict stems not just from the historical reality of the university, but also from the divergent pedagogical tenets held by conservatives and liberals. Within the framework of the analysis of the fictional universe, which is founded on the tension between these divergent pedagogical perspectives, we examine the film's plot and thematic structure. The feminist aspect of libertarian education is on full display throughout the film, especially as it pertains to women's education. This research aims to add to the feminist discourse analyses of the film Mona Lisa Smile by shifting the emphasis of teaching toward content analysis. [ABSTRACT FROM AUTHOR]

Today, many recurrent narratives are presented and transmitted to our image world by cultural industries. The various adaptations of James Bond, who is an important hero of popular cinema and encountered in different geographies, can be seen as an important reflection of cultural transmission. There are examples where the interactions of James Bond films can be seen in Turkish cinema, which is called the “Yeşilçam Era.” In this context, the global influence of Bond movies will be examined through Altın Çocuk movies of Göksel Arsoy, known as Turkish James Bond. The study analyzes the relationship between Altın Çocuk and Altın Çocuk Beyrut’ta, and Thunderball and You Only Live Twice. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Civilization Studies is the property of Kyrgyz-Turkish Manas 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 University Social Sciences Institute / Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi is the property of Journal of Selcuk University Social Sciences Institute 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 International Journal of Language Academy is the property of Rota Kariyer 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.)

Çalışmanın Sinema; toplumsal olayları, oluşturduğu temsil sistemi ve çeşitli kodlarla kitlelere sunmaktadır. İletişimsel, sosyal ve kültürel boyutuyla öne çıkan yemek, barındırdığı gösterge ve temsillerle sinema için değerli bir unsur haline gelmiştir. Yemek de sinema gibi farklı temsiller barındırmaktadır. Dolayısıyla toplumsal temsiller barındıran yemek ve sinemanın bir arada incelenmesi, bireyin kimlik inşa ve değişim sürecinde yemek göstergesinin işlevinin anlaşılmasını kolaylaştıracaktır. Bu çalışma, yemek, açlık ve çevresel faktörlerin bireyin kimliğinde oluşturacağı değişim ve etkileri analiz etmeyi amaçlamaktadır. Yemeği merkeze alan Platform (The Platform, Galder, Gaztelu-Urrutia, 2019), filminin ana karakteri olan Goreng (Iván Massagué)’in film boyunca hem kendisi hem de diğer karakterlerle olan ilişkisine odaklanan çalışmada, karakterin kimlik yolculuğunun Albert Bandura’nın sosyal öğrenme kuramı bağlamında analiz edilerek açıklanması ve kimliksel değişimlerin gözlemlendiği sahnelerin içeriksel bağlamda çözümlenmesi hedeflenmektedir.

Hacı Bektâş-ı Velî, Türk Müslümanlığının önemli isimlerinin başında gelmekle birlikte heterodoks İslam’ın Anadolu coğrafyasındaki en etkin figürüdür. Ancak çeşitli kaynaklar ve zümreler birbirinden farklı ve birbirlerine tamamen zıt Hacı Bektâş portreleri çizerler. Hacı Bektâş-ı Velî ile ilgili yapılan çalışmalara bakıldığında, herkesin kendi görmek istediği kişiyi anlatmak yolunu seçtiği ve bu anlamda her düşüncenin kendine ait bir Hacı Bektâş-ı Velî portresi ürettiği görülür. Kimileri Hacı Bektâş-ı, Sünni bir mutasavvıf olarak ifade ederken kimileri de heterodoks İslam’ın bir temsilcisi olarak değerlendirirler. Yanı sıra Hacı Bektâş-ı tamamen politik bir figüre dönüştürerek haksızlıklar karşısında emekçi halkın yanında yer alan bir direniş sembolü olarak gösterenler de mevcuttur. Çeşitli ideolojik söylemler etrafında tarihsel kaynaklarda farklı Hacı Bektâş temsillerinin olduğu görülmektedir. Bu bakış açısı, birden çok Hacı Bektâş-ı Velî ortaya çıkarmaktadır. Bir kitle sanatı olarak sinemada ise Hacı Bektâş portrelerinin farklılaşmaktan çok aynılaştığı düşüncesi ön plandadır. Bu doğrultuda çalışma, Türk toplumunun inanç ve değerlerinde büyük bir öneme sahip olan ancak gerçek ve menkıbevi kişiliği arasında tartışmalar barındıran Hacı Bektâş temsillerinin sinemaya yansımalarını açığa çıkarmayı hedeflemektedir. Nitel araştırma metodolojisindeki yöntemlerden biri olan betimsel analiz aracılığıyla Türk sinemasına yansıyan bir geleneğin nasıl tanımlandığı, nasıl yorumlandığı örnek filmler üzerinden değerlendirilmiştir. Uygulanan betimsel analizde görüşmeler yerine filmlerde ele alınan tematik çerçevenin kurulumu ve nasıl değerlendirildiği gözleme tabi kılınırken, film yapımcısının ve yönetmenin içinde bulunduğu toplumsal yapıda bu değerleri nasıl yansıttığı ortaya koyulmaya çalışılmıştır. Betimsel analiz ile farklı düşüncelere sahip bireylerin Hacı Bektâş-ı Velî hakkındaki görüşlerinin sinemaya nasıl aktarıldığı üzerinde durulmuştur. Bu doğrultuda çalışma kapsamında, Türk sinemasında Hacı Bektâş temsillerini içeren filmler tespit edilmiştir. Başlangıcından günümüze kadar sadece bir tane Hacı Bektâş-ı Velî filmi çekilmiştir. 1967 yılında T. Fikret Uçak tarafından çekilen ve Hazretli filmler olarak adlandırılan dini figürlerin yaşamlarından kesitleri Yeşilçam estetiği içerisinde aktarmaya çalışan filmlerden biri Hacı Bektâş-ı Velî (Anadolu’yu Tükleştirenler)’dir. Hacı Bektâş-ı Velî filminin dışında Yunus Emre’nin yaşam öyküsünün anlatıldığı filmlerde de Hacı Bektâş-ı Velî tiplemelerine rastlanmaktadır. Türk sinemasında incelenen Hacı Bektâş temsilleri yönetmenlerin ya da senaristlerin ideolojik düşünceleri ve inanışları ile bağlantılı olarak değişkenlik gösterirler. Bununla birlikte dönemin tarihsel, toplumsal ve politik gelişmelerini de temsiller noktasında göz önünde bulundurmak gerekmektedir.

Etkili bir medya aracı olan filmler hem bilgileri hem de duyguları transfer edebilme özelliği taşımaktadır. Bu sebeple dinsel ögelerin filmlerde kullanılma şekillerinin Dinler Tarihi tarafından incelenmesinin pek çok açıdan faydalı olacağı düşünülmektedir. Bu bağlamda Pi (π) Filminde yer alan Yahudilikle ilgili unsurların incelenmesi amaçlanmıştır. Her dini ritüel kutsala yakınlaşmak için yapılır. Bilimin ve dinin birlikte kurgulandığı Pi filminde de böylesi bir çaba anlatılmaktadır. Maximillian, bir bilgisayar kullanarak ve matematik hesaplamalar yaparak evrenin gizemini bulmaya çalışmaktadır. Sonuçta Hasidik Yahudilerin yardımıyla kendi Tanrı’sının kişisel adını bulur. Bunu, kelimeleri rakamlarla ifade eden Gematria tekniğini kullanarak yapar. Maximillian, kohen soyundan geldiği için seçkindir. Ancak bir kabalist olmadığı için yetkin değildir ve bulduğu ismi nasıl kullanacağını bilememektedir. Dolayısıyla bu bilgi Maximillian’ı tüketir. Bilgiye kimsenin ulaşamaması için Maximillian bilgilerin kayıtlı olduğu her şeyi imha eder sonra da kendi bedenini yok etmek ister. Sonuç olarak bu filmde seçkin ve yetkin olmadan Tanrı’nın ismiyle uğraşmanın tehlikeli olduğu anlatılmaktadır.

Quarterlife crisis is a concept used to describe the difficulties and indecision faced by individuals in their early twenties and mid-thirties regarding their careers, financial arrangements, where to live and relationships. During the quarterlife crisis, individuals experience mental health disorders such as depression and anxiety. In this study, in order to understand characteristics of the quarterlife crisis the relationships between the discipline of psychology and the art of cinema have been acted upon. The aim of this study is to analyze the Frances Ha movie directed by Noah Baumbach in the context of the quarterlife crisis. Document analysis, which is one of the qualitative research methods, was used in the study. The results of the study revealed that Frances, the main character of the Frances ha movie, experienced many features of the quarterlife crisis. As a result, awareness of the quarterlife crisis by mental health professionals may enable them to intervene more accurately when working with clients who are experiencing difficulties during this crisis. [ABSTRACT FROM AUTHOR]

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 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.)