The main purpose of the study is to investigate the emergence of labor and its struggle for unionism in Turkey in parallel to the process of urbanization on the basis of a particular Turkish employee film named after The Blood Money (Diyet). What I am trying to argue is that labor has become a labor and unionism has converted into a professional and institutional background in the aftermath of the announcement of Republican period despite some ups and downs. In 1950s, the capital was urbanized which was the case for labor in the 1960s and hereafter.
{"title":"The Urbanization of Labor and Its Struggle for Unionism in Turkish Cinema","authors":"H. Yüksel","doi":"10.5195/cinej.2019.239","DOIUrl":"https://doi.org/10.5195/cinej.2019.239","url":null,"abstract":"The main purpose of the study is to investigate the emergence of labor and its struggle for unionism in Turkey in parallel to the process of urbanization on the basis of a particular Turkish employee film named after The Blood Money (Diyet). What I am trying to argue is that labor has become a labor and unionism has converted into a professional and institutional background in the aftermath of the announcement of Republican period despite some ups and downs. In 1950s, the capital was urbanized which was the case for labor in the 1960s and hereafter.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"64 1","pages":"150-194"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84799459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyzes the father-son relationship in Nuri Bilge Ceylan’s latest film The Wild Pear Tree (2018), which tells the story of a son who desires a life as unlike his father’s narrow, provincial life as possible, only to find himself following in his father’s footsteps almost against his will. Drawing upon Freudian and Lacanian psychoanalysis, this article examines the film as an oedipal drama that portrays the predicament of a son who grapples with an ineffectual, humiliated father that fails to embody the paternal function. It undertakes to show how the father-son conflict eventually culminates in the father’s transformation from an object of contempt into an identificatory ideal for his son, who becomes heir to a legacy of disillusionment and thwarted hopes.
{"title":"Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan's The Wild Pear Tree","authors":"Coşkun Liktor","doi":"10.5195/cinej.2019.233","DOIUrl":"https://doi.org/10.5195/cinej.2019.233","url":null,"abstract":"This article analyzes the father-son relationship in Nuri Bilge Ceylan’s latest film The Wild Pear Tree (2018), which tells the story of a son who desires a life as unlike his father’s narrow, provincial life as possible, only to find himself following in his father’s footsteps almost against his will. Drawing upon Freudian and Lacanian psychoanalysis, this article examines the film as an oedipal drama that portrays the predicament of a son who grapples with an ineffectual, humiliated father that fails to embody the paternal function. It undertakes to show how the father-son conflict eventually culminates in the father’s transformation from an object of contempt into an identificatory ideal for his son, who becomes heir to a legacy of disillusionment and thwarted hopes.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"2 1","pages":"119-149"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84192726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, first the “paradox of assimilation and difference” and its consequences will be discussed and next the movie A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant IranianAmerican director will be analyzed. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her.
{"title":"Shattered Identity of Immigrant Artist and Creation of Art in a Hybridized Space: The Case Study of A Girl Walks Home Alone at Night","authors":"Hoda Shabrang","doi":"10.5195/cinej.2020.220","DOIUrl":"https://doi.org/10.5195/cinej.2020.220","url":null,"abstract":"In this article, first the “paradox of assimilation and difference” and its consequences will be discussed and next the movie A Girl Walks Home Alone at Night by Ana Lily Amirpour who is an immigrant IranianAmerican director will be analyzed. The aim is to show how her shattered identity as an immigrant is represented in her art. Her movie is an amalgamation of different signs from both cultures. These signs are not completely related to host culture (American) or local culture (Iranian). Although this impossible situation seems very painful at the first glance, it is beneficial for immigrant artist. In this hybridized space, she creates a kind of art which is very innovative and unique, because she is not forced to follow the cliché styles which those cultures are dictating her.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"11 1","pages":"45-61"},"PeriodicalIF":0.1,"publicationDate":"2020-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79846678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance","authors":"Negar Taymoorzadeh","doi":"10.5195/cinej.2020.292","DOIUrl":"https://doi.org/10.5195/cinej.2020.292","url":null,"abstract":"","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"65 10","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138503880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michelle Langford, Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance. London: Bloomsbury Publishing, 2019. xiii + 278 pp. ISBN 9781780762982
{"title":"Review of Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance","authors":"Negar Taymoorzadeh","doi":"10.5195/cinej.2020.293","DOIUrl":"https://doi.org/10.5195/cinej.2020.293","url":null,"abstract":"Michelle Langford, Allegory in Iranian Cinema: The Aesthetics of Poetry and Resistance. London: Bloomsbury Publishing, 2019. xiii + 278 pp. ISBN 9781780762982","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"106 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81237621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Throughout human history to narrate have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus, narratives, in a broadest sense circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap globally within international film industry.
{"title":"From Box office to memory: Telling stories is not an innocent act","authors":"Ayla Kanbur","doi":"10.5195/cinej.2020.182","DOIUrl":"https://doi.org/10.5195/cinej.2020.182","url":null,"abstract":"Throughout human history to narrate have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus, narratives, in a broadest sense circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap globally within international film industry. ","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"65 11","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138503879","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Late in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal . His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer.
{"title":"Remembering Thomas Elsaesser and Peter Wollen","authors":"Murat Akser","doi":"10.5195/cinej.2020.286","DOIUrl":"https://doi.org/10.5195/cinej.2020.286","url":null,"abstract":"Late in 2019 film studies lost two of its founding members that help define the field as a discipline with their work in the last 50 years. Thomas Elsaesser was one of the founding members of the editorial board of CINEJ Cinema Journal . His contribution to the study of German Cinema, founding of Amsterdam School of Cultural Studies and training of countless PhD students in the field will be a long-lasting legacy for this giant figure of cinema and media studies. Peter Wollen will be remembered for his Signs and Meaning in the Cinema and as the father of structuralism in film studies. Along with his partner Laura Mulvey he will also be remembered as a pioneering experimental media producer.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"370 1","pages":"1-13"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76315300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters. I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014). I argue that the process we see is not about deglamming (or getting ugly) for its own sake. Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics. And while the three films I examine here – Monster , The Hours , and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.
{"title":"Deglamming as Estrangement: Ugly in Monster, The Hours, and Cake","authors":"Sharrona Pearl","doi":"10.5195/cinej.2020.268","DOIUrl":"https://doi.org/10.5195/cinej.2020.268","url":null,"abstract":"In this paper, I explore female actresses undergoing radical or seemingly radical physical transformation in service of a broader kind of career transformation. I problematize the simple calculation of deglamming, thinking more closely about the ways that celebrity structure raises challenges to actors and especially actresses attempting to engage with against-type characters. I turn specifically to three well-known examples of this trend: Charlize Theron in Monster (2003), Nicole Kidman in The Hours (2002), and Jennifer Aniston in Cake (2014). I argue that the process we see is not about deglamming (or getting ugly) for its own sake. Deglamming in these cases is a process of estrangement: from beauty, from the celebrity machine, from audience expectations. I draw on screen shots, film reviews and interviews to explore the relationship between deglamming and estrangement as a kind of acting and character technique, paying particular attention to the stakes for presenting historical characters in biopics. And while the three films I examine here – Monster , The Hours , and Cake – are often thought together as examples of actress Oscar uglification, they are actually quite different, both in terms of the physical transformations the actresses underwent in service of their characters, and the ways in which these transformations were understood and received.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"16 1","pages":"218-248"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79846770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper focuses on the protagonist in Venom (2018). The debate is based on the double character of Eddie-Venom and traces the Deleuzean desire of this folded identity. How Eddie’s dark desires are suppressed and united by Venom, a symbiote? Schizoanalysis, a counter-method of psychoanalysis, assumes a dual identity for dealing with the rational space surrounding us. Psychoanalysis however, establishes a family-based representational system. For Deleuze and Guattari, free associations during schizophrenic life are to be preferred instead of the representational approach in psychoanalysis. schizo-esthetics, a network of desiring machines, is the liberty of the subject to remain in the world non-hierarchically and the abandonment of the order of symbols.
{"title":"Venom: A Desiring Machine","authors":"Volkan Yücel","doi":"10.5195/cinej.2020.231","DOIUrl":"https://doi.org/10.5195/cinej.2020.231","url":null,"abstract":"This paper focuses on the protagonist in Venom (2018). The debate is based on the double character of Eddie-Venom and traces the Deleuzean desire of this folded identity. How Eddie’s dark desires are suppressed and united by Venom, a symbiote? Schizoanalysis, a counter-method of psychoanalysis, assumes a dual identity for dealing with the rational space surrounding us. Psychoanalysis however, establishes a family-based representational system. For Deleuze and Guattari, free associations during schizophrenic life are to be preferred instead of the representational approach in psychoanalysis. schizo-esthetics, a network of desiring machines, is the liberty of the subject to remain in the world non-hierarchically and the abandonment of the order of symbols.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"77 1","pages":"14-29"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86745374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article seeks to rethink the importance of the cinema as a teaching and learning methodology of Law. Much is said about the importance of different methodologies to the teaching and learning of Law, such as cinema, music and literature. But there is not much said about why it is important. In this sense, the question to be solved is: why cinema can be used as an important pedagogical practice to teach human rights? To answer the question, the main hypothesis, to be tested by Popperian method, suggests that cinema manages to generate an emotional participation of the spectator, including the student. This hypothesis is explained by the theory of projection-identification, which says cinema can eliminate the distance created in the students by the scientific objectification. Moreover, human rights films seem to present a load of truth, increasing the emotional participation of the students; therefore, it seems to increase the will of the student to learn new subjects and get involved in human rights issues.
{"title":"Cinema, Human Rights And Development: The Cinema As A Pedagogical Practice","authors":"Leilane Serratine Grubba","doi":"10.5195/cinej.2020.238","DOIUrl":"https://doi.org/10.5195/cinej.2020.238","url":null,"abstract":"This article seeks to rethink the importance of the cinema as a teaching and learning methodology of Law. Much is said about the importance of different methodologies to the teaching and learning of Law, such as cinema, music and literature. But there is not much said about why it is important. In this sense, the question to be solved is: why cinema can be used as an important pedagogical practice to teach human rights? To answer the question, the main hypothesis, to be tested by Popperian method, suggests that cinema manages to generate an emotional participation of the spectator, including the student. This hypothesis is explained by the theory of projection-identification, which says cinema can eliminate the distance created in the students by the scientific objectification. Moreover, human rights films seem to present a load of truth, increasing the emotional participation of the students; therefore, it seems to increase the will of the student to learn new subjects and get involved in human rights issues.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"14 1","pages":"87-123"},"PeriodicalIF":0.1,"publicationDate":"2020-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75302328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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