Suchergebnisse

Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan's presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of "would be" critics who openly confess they did not watch Ceylan's movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal. ; No sponsors

Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan's presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of "would be" critics who openly confess they did not watch Ceylan's movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal. ; WOS:000454229100002

WOS: 000454229100002 ; Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan's presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of "would be" critics who openly confess they did not watch Ceylan's movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal.

Italian neo-realism is the main source of inspiration for many film movements and auteur filmmakers trying to construct a "counter-hegemonic" film language against the dominant cinematic practices. This paper investigates the impact of neo-realism upon the early films of Yılmaz Güney and Nuri Bilge Ceylan. This impact is certainly not monolithic and one dimensional, and like the neorealist movement itself, it is multifaceted and colorful After the coup d'Etat of 1960, social realist filmmakers had already introduced neorealism to Turkish film industry but it took another ten years for a mature and authentic realist political film language to develop. So Yılmaz Güney was among the first filmmakers in Turkey who combined documentary verism and political editing. Some twenty years later, Nuri Bilge Ceylan chose to adopt another "realist" position combining minimalism with a very personal and idiosyncratic film language. DOI:10.5901/ajis.2013.v2n9p181

This poster is an analysis of the representations of the government and bourgeois in Turkish film director Nuri Bilge Ceylan's last film, The Wild Pear Tree (2018). This poster aims to analyze the similarities and the differences between two characters representing the government and the bourgeois on their interactions with the lead character in the film.

The concept of "collective enunciation," which Deleuze and Guattari propose in delineating their idea of minor literature/cinema, remains regrettably underdeveloped for the purpose of exploring the political investment of a given film. In the context of cinema, the concept designates the possibility of attaining a collective voice in film under a set of negative conditions, such as the crisis of a private poetics and the objective disintegration of the category of the "people," through the transformation of both parties involved in these conditions, the author and real characters as her people. In this way, it becomes possible to imagine the political dimension of a film in such a way that goes beyond the merely thematic treatment of political issues. In the end, this refers to the politics of what is called minor cinema. This paper reflects on the place of such a politics in the cinema of two contemporary Turkish cinematographers, Zeki Demirkubuz and Nuri Bilge Ceylan, who are rarely imagined as political filmmakers. It proposes a theoretical framework which enables reading their films as two different aesthetic responses formulated within cinema against the fragmentation of what made the classical political cinema possible: the "people." For this purpose, it is necessary to show that Gilles Deleuze's concept of "missing people" or "minorities," which made modern political cinema possible according to Deleuze, is not restricted to the historical period chosen by him. The paper demonstrates that an analysis of certain aspects of Ceylan's and Demirkubuz's films, such as real characters, formation in series, national allegory, autobiography, interiors and outdoor landscapes, warrants an understanding of the work of these two authors as instances of a second generation, minor political cinema. ; Deleuze ve Guattari'nin minör edebiyat/sinema fikrini açıklamak için ortaya attıkları "kolektif bildirim" kavramından, verili bir filmin siyasi katmanlarını araştırmak için yeterince yararlanılmadı. Bu kavram sinema baŞlamında, yazarın kendini içinde bulduŞu kişisel bir dil yokluŞu krizi ile "halk" kategorisinin nesnel olarak zayıflayıp parçalanmaya yüz tutması gibi olumsuz koşullar içinde kollektif bir söze ulaşabilme olasılıŞını anlatır. Öyle ki, bu olasılıŞın gerçekleşmesi sözkonusu koşullara tâbi olan iki tarafın da (hem sanatçı hem de sanatçının halkı olarak gerçek hayattan oyuncu) başkalaşması demektir. Böylece bir filmin siyasi boyutunu sadece siyasi meselelerin konu edildiŞi tematik bir sinema anlayışının ötesinde düşünmek mümkündür. Sonuçta minör sinema diye adlandırılan da bu tür bir kollektif söz siyasetiyle belirlenir. Bu yazı, pek de siyasi sinema örneŞi olarak görülmeyen Zeki Demirkubuz ve Nuri Bilge Ceylan filmlerinde işleyen bu türden bir siyasetin yeri üzerine düşünmeye çalışıyor. Burada önerilen kuramsal çerçeveye göre Demirkubuz ve Ceylan sineması, klasik siyasi sinemayı olanaklı kılmış "halk" kategorisinin parçalanması karşısında geliştirilmiş farklı iki estetik cevap olarak görülebilir. Bu sorunsalı açmak için Deleuze'ün "kayıp halk" ya da "azınlıklar" kavramına başvurarak bu kavramların Deleuze'ce uygulandıŞı tarihsel dönem dışında da geçerli olduŞunu gösteriyoruz. Yazı, Demirkubuz ve Ceylan'da rastlanan profesyonel olmayan oyuncular, serileşme, ulusal alegori, otobiyografik öŞeler, iç mekânlar ile dış manzaralar gibi bazı özelliklerden yola çıkan bir analizin bu sinemacıların ikinci kuşak, minör bir siyasi sinemanın örnekleri olduŞunu gösterebileceŞini iddia ediyor.

This study is a cinematic portrait not of the real, but essentially of the updated İstanbul. In the case of the strangers of cinematic İstanbul, the most strategic, useful, as well as the most difficult step for updating the city's image is to shift the axis from its centres, touristic places, familiar characters, common values and usual events to its corners, secondary places and characters, minimalist conditions, ambivalent values and current changes. For this purpose this study analyzes five films as sociological testimonies without touching upon their details but by focusing on their references: Politiki Kouzina/Bir Tutam Baharat/A Touch of Spice (Tassos Boulmetis, 2003), Köprüdekiler/Men on the Bridge (Aslı Özge, 2009), Kaç Para Kaç/A Run for Money (Reha Erdem, 1999), Uzak/Distant (Nuri Bilge Ceylan, 2002), and 11'e 10 Kala/10 to 11 (Pelin Esmer, 2009). These films, which constitute the framework of this research, are breaking points of modern İstanbul's social and urban history and of changing form of strangers. ; Bu çalışma İstanbul'un gerçek değil; esasında güncellenmiş bir sinematik portresidir. Sinematik İstanbul'un yabancıları bağlamında, kent imgesini güncellemek için en stratejik, faydalı ve aynı zamanda en zor adım ekseni merkezlerden, turistik mekânlardan, alışıldık karakterlerden, malum değerlerden ve olağan olaylardan kenarlara, ikincil mekân ve karakterlere, minimal durumlara, müphem değerlere ve hâlihazırdaki değişimlere kaydırmaktır. Bu amaçla, detaylarına inmeksizin ama göndermelerine odaklanarak, birer sosyolojik tanıklık olan beş film analiz edilmiştir: Bir Tutam Baharat (Tassos Boulmetis, 2003), Köprüdekiler (Aslı Özge, 2009), Kaç Para Kaç (Reha Erdem, 1999), Uzak (Nuri Bilge Ceylan, 2002) ve 11'e 10 Kala (Pelin Esmer, 2009). Araştırmanın genel çerçevesini oluşturan bu filmler modern İstanbul'un toplumsal ve kentsel tarihi ve yabancıların değişen dokusunun en kritik kırılma noktalarıdır. ; WOS:000457222000007

Bu çalışma modern kültürün bir uzantısı ve gündelik yaşamın olağan bir dışavurumuna dönüşen bıkkınlık (blasé attitude) sorunsalına odaklanmaktadır. İlk kez Georg Simmel tarafından daha çok kent yaşamına özgü mekânsal bir durum olarak tanımlanan bıkkınlık, bu makalede ise kentin sınırlarına indirgenemeyen genel bir insanlık durumu olarak ele alınmaktadır. Melankoliye kıyasla yıkıcı doku taşıyan bıkkınlık tavrı, bu çalışmada Türk yönetmen Nuri Bilge Ceylan yönettiği Ahlat Ağacı (2018) filminin karakterleri üzerinden tartışılmaktadır. Bir yöntem olarak bu sinemasal izdüşüm, gri, depresif ve karamsar bir duygulanım olan bıkkınlık meselesini yetkin bir şekilde inceleme imkânı sunmaktadır. Ceylan'ın filmlerinden görüldüğü üzere, modern birey artık yalnızca öteki ile değil; kendi varlıkları, vicdanları ve verili değerlerle karşı karşıyadır. Dahası, taraflar arasında açık bir hesaplaşma da söz konusu değildir. Bıkkınlığı kent ve taşra kültürlerinin ötesinde bireysel düzeyde tecrübe edilen bir toplumsal vakıa olarak inceleyen bu makale, bıkkınlığa temelde bir modern insan katastrofisi olarak yaklaşmaktadır.

AbstractThis 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.