The Democrat Party era (1950-1960) sparked radical changes in Turkey. The economic practices of the party administration during the country's administration, as well as some of the negativities it created in the political and social field, have long been on Turkey's agenda. This agenda continued even after the May 27th 1960 Military Coup removed the party from power. The Turkish Constitution of 1961, which was put into effect after the coup, created an environment suitable for looking at various problems of society from different perspectives. This environment was also reflected in the cinema, paving the way for the birth of a movement called Social Realism in Turkish Cinema. It is thought that the Social Realist Movement (1960-1965) and some of the films shot under the influence of this movement mirror the economic policies implemented during the Democrat Party era and the adverse developments it brought with it. In the study, the reflections on the harmful effects of the Democrat Party's economic policies on social realist films in Turkish Cinema are discussed. The films selected within the scope of the study were criticized through critical discourse analysis, historical, sociological, and ideological criticism methods, and the political, sociological, and class aspects of the Democrat Party's policies, as well as their economic aspects, were analyzed.
{"title":"Cinematic Views on Critical Representations of the Economic Policies of the Democrat Party Era: Social Realist Film Initiatives in Turkish Cinema","authors":"Betül SARI AKSAKAL","doi":"10.5195/cinej.2023.569","DOIUrl":"https://doi.org/10.5195/cinej.2023.569","url":null,"abstract":"The Democrat Party era (1950-1960) sparked radical changes in Turkey. The economic practices of the party administration during the country's administration, as well as some of the negativities it created in the political and social field, have long been on Turkey's agenda. This agenda continued even after the May 27th 1960 Military Coup removed the party from power. The Turkish Constitution of 1961, which was put into effect after the coup, created an environment suitable for looking at various problems of society from different perspectives. This environment was also reflected in the cinema, paving the way for the birth of a movement called Social Realism in Turkish Cinema. It is thought that the Social Realist Movement (1960-1965) and some of the films shot under the influence of this movement mirror the economic policies implemented during the Democrat Party era and the adverse developments it brought with it. In the study, the reflections on the harmful effects of the Democrat Party's economic policies on social realist films in Turkish Cinema are discussed. The films selected within the scope of the study were criticized through critical discourse analysis, historical, sociological, and ideological criticism methods, and the political, sociological, and class aspects of the Democrat Party's policies, as well as their economic aspects, were analyzed.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"108 23","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954159","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 the study, minor-being is discussed together with Deleuze's cinema approach and the concepts he produced in philosophy. In this context, the film A Tale of Three Sisters, which allows a wide contextual analysis and focuses on micropolitics, has been examined. In the film, it was seen that subjects such as being-woman, being-other, poverty, class difference and majority domination were included. The study aims to analyze Deleuze's thoughts on modern political cinema, which he associates with minor literature, and to show that there are minor components in Turkish cinema.
{"title":"Seeking the Political Function of Time-Image in New Turkish Cinema from a Deleuzian Perspective","authors":"Azime Cantaş","doi":"10.5195/cinej.2023.571","DOIUrl":"https://doi.org/10.5195/cinej.2023.571","url":null,"abstract":"In the study, minor-being is discussed together with Deleuze's cinema approach and the concepts he produced in philosophy. In this context, the film A Tale of Three Sisters, which allows a wide contextual analysis and focuses on micropolitics, has been examined. In the film, it was seen that subjects such as being-woman, being-other, poverty, class difference and majority domination were included. The study aims to analyze Deleuze's thoughts on modern political cinema, which he associates with minor literature, and to show that there are minor components in Turkish cinema.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"36 18","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138955720","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}
The need for a safe, stable, and suitable place of residence is fundamental for human beings. Nevertheless, having such a place, particularly in a city, remains unattainable for too many people. This study aims to examine how “the others” are metaphorically represented in contemporary South Korean films that portray city dwellers struggling to find a place of residence in urban areas and fighting for their existence. The multimodal analysis of conceptual metaphors enabled us to comprehend how the metaphor of EXISTENCE IS A LOCATION emphasized the significance of physical space for one’s being. Furthermore, the vertical movements in visual representations, such as GOOD IS UP, BAD IS DOWN, connect to more abstract meanings of precarious existence, social hierarchy, and otherness.
{"title":"Existence is a Location: “The Others” in the Form of Conceptual Metaphor","authors":"Park Morgan Mok-Won","doi":"10.5195/cinej.2023.591","DOIUrl":"https://doi.org/10.5195/cinej.2023.591","url":null,"abstract":"The need for a safe, stable, and suitable place of residence is fundamental for human beings. Nevertheless, having such a place, particularly in a city, remains unattainable for too many people. This study aims to examine how “the others” are metaphorically represented in contemporary South Korean films that portray city dwellers struggling to find a place of residence in urban areas and fighting for their existence. The multimodal analysis of conceptual metaphors enabled us to comprehend how the metaphor of EXISTENCE IS A LOCATION emphasized the significance of physical space for one’s being. Furthermore, the vertical movements in visual representations, such as GOOD IS UP, BAD IS DOWN, connect to more abstract meanings of precarious existence, social hierarchy, and otherness.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"109 21","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138958625","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 explores two seminal films Akerman wrote and directed early in her career, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and Les Rendez-vous d’Anna (Meetings with Anna) (1978), in the context of her later autobiographical writings, Une famille à Bruxelles (1998) and Ma mère rit (2013) (My Mother Laughs). While scripted many years earlier, the two films address themes later developed in Ma mère rit and Une famille à Bruxelles, notably Akerman’s intense relationship with her mother and the trauma of the Shoah. The article outlines the key elements of the two films and autobiographical works and then explores a number of shared themes between the films and autobiographical writings. Firstly, it analyses the two films in the context of Ivonne Margulies’ identification of “hindered communication” as a key feature in both films. It next develops an analysis of the privileged role Akerman attributes to communication within the family. The traumatic and pervasive influence of the Shoa in Akerman’s films and autobiographical works is then examined in the context of her mother’s history as a survivor of the camps. The article then contextualises Akerman’s use of the French language in the context of Deleuze and Guattari’s theory of a minor literature. Akerman’s treatment of the notion of home and her usage of Freudian themes - the oedipal complex, the incest taboo and mother-daughter ambivalence – is examined with examples from both Jeanne Dielman and Meetings with Anna. In conclusion, the value of a reading of Akerman’s autobiographical works, Une famille à Bruxelles (1998) and Ma mère rit, is highlighted as a means of furthering an understanding of Jeanne Dielman and Meetings with Anna.
本文结合阿克曼后来的自传体作品《布鲁塞尔的家庭》（Une famille à Bruxelles）（1998 年）和《我母亲的笑》（Ma mère rit）（2013 年），探讨了阿克曼职业生涯早期创作和执导的两部开创性电影《让娜-迪尔曼，23 quai du Commerce, 1080 Bruxelles》（1975 年）和《与安娜的会面》（Les Rendez-vous d'Anna）（1978 年）。虽然剧本创作于多年前，但这两部影片涉及的主题后来在《Ma mère rit》和《Une famille à Bruxelles》中有所发展，尤其是阿克曼与母亲的亲密关系和纳粹浩劫的创伤。 文章概述了这两部电影和自传体作品的主要元素，然后探讨了电影和自传体作品之间的一些共同主题。 首先，文章从伊冯娜-玛格丽丝将 "交流受阻 "视为两部电影的主要特征这一角度对两部电影进行了分析。接着，分析了阿克曼赋予家庭沟通的特权角色。然后，文章结合阿克曼母亲作为集中营幸存者的历史，分析了肖亚战争在阿克曼的电影和自传作品中造成的创伤和普遍影响。然后，文章结合德勒兹和瓜塔里的小文学理论，对阿克曼使用法语的情况进行了分析。文章以《让娜-迪尔曼》（Jeanne Dielman）和《与安娜的会面》（Meetings with Anna）为例，探讨了阿克曼对 "家 "这一概念的处理，以及她对弗洛伊德主题--恋母情结、乱伦禁忌和母女矛盾--的运用。 最后，强调了阅读阿克曼的自传体作品《布鲁塞尔的一个家庭》（1998 年）和《我的母亲》（Ma mère rit）的价值，以此来进一步理解《让娜-迪尔曼》和《与安娜的会面》。
{"title":"Autobiographical Traces in Chantal Akerman’s Jeanne Dielman and Meetings with Anna","authors":"Stephen Carruthers","doi":"10.5195/cinej.2023.493","DOIUrl":"https://doi.org/10.5195/cinej.2023.493","url":null,"abstract":"This article explores two seminal films Akerman wrote and directed early in her career, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975) and Les Rendez-vous d’Anna (Meetings with Anna) (1978), in the context of her later autobiographical writings, Une famille à Bruxelles (1998) and Ma mère rit (2013) (My Mother Laughs). While scripted many years earlier, the two films address themes later developed in Ma mère rit and Une famille à Bruxelles, notably Akerman’s intense relationship with her mother and the trauma of the Shoah. The article outlines the key elements of the two films and autobiographical works and then explores a number of shared themes between the films and autobiographical writings. Firstly, it analyses the two films in the context of Ivonne Margulies’ identification of “hindered communication” as a key feature in both films. It next develops an analysis of the privileged role Akerman attributes to communication within the family. The traumatic and pervasive influence of the Shoa in Akerman’s films and autobiographical works is then examined in the context of her mother’s history as a survivor of the camps. The article then contextualises Akerman’s use of the French language in the context of Deleuze and Guattari’s theory of a minor literature. Akerman’s treatment of the notion of home and her usage of Freudian themes - the oedipal complex, the incest taboo and mother-daughter ambivalence – is examined with examples from both Jeanne Dielman and Meetings with Anna. In conclusion, the value of a reading of Akerman’s autobiographical works, Une famille à Bruxelles (1998) and Ma mère rit, is highlighted as a means of furthering an understanding of Jeanne Dielman and Meetings with Anna.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"141 ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139169611","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}
The ultimate purpose of this study is to scrutinize industrialization via movies in a thematic ways. Actually, industrialization, which occurs at the end of the 18th and the outbreak of the 19th century, is the process of mechanization of production and the rationalization of policy as a whole. It is economically the onset of mechanization, commercialization or fabrication of goods in a massive way and the utilization of logic on a political basis. Without logic or ration, it is quite impossible that there will be no transformation like this. At the same time, it is the direct outbreak of capital accumulation. There are a great many factors for its emergence to be debated; however, there is a green reality that this is not a linear process. In the stark contrast, it is eclectical as well as progressive. History also whispers us that this innovative stage ranging from Industry 1.0 to Industry 4.0 converts into a development culture, which has been dominated by the West since Renaissance and Reform. Comprehending the reasons for the formation of this innovative culture is of great significance for all of us. In this study, our main objective is to read these spheres of improvement on the basis of four movies for four stages. Industry 1.0, associated with steam power is represented by Oliver Twist (2005); Industry 2.0 is related to Modern Times (1936), as for Industry 3.0, it is based upon A Beautiful Mind (2001) while Industry 4.0 is overviewed with Replicas (2018).
{"title":"Short History of Industrialization: A Cinematographic Approach","authors":"Hasan Yüksel","doi":"10.5195/cinej.2023.574","DOIUrl":"https://doi.org/10.5195/cinej.2023.574","url":null,"abstract":"The ultimate purpose of this study is to scrutinize industrialization via movies in a thematic ways. Actually, industrialization, which occurs at the end of the 18th and the outbreak of the 19th century, is the process of mechanization of production and the rationalization of policy as a whole. It is economically the onset of mechanization, commercialization or fabrication of goods in a massive way and the utilization of logic on a political basis. Without logic or ration, it is quite impossible that there will be no transformation like this. At the same time, it is the direct outbreak of capital accumulation. There are a great many factors for its emergence to be debated; however, there is a green reality that this is not a linear process. In the stark contrast, it is eclectical as well as progressive. History also whispers us that this innovative stage ranging from Industry 1.0 to Industry 4.0 converts into a development culture, which has been dominated by the West since Renaissance and Reform. Comprehending the reasons for the formation of this innovative culture is of great significance for all of us. In this study, our main objective is to read these spheres of improvement on the basis of four movies for four stages. Industry 1.0, associated with steam power is represented by Oliver Twist (2005); Industry 2.0 is related to Modern Times (1936), as for Industry 3.0, it is based upon A Beautiful Mind (2001) while Industry 4.0 is overviewed with Replicas (2018).","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"96 5","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954151","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}
Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were investigated. The hypothesis was that Turkish horror film naming uses religious elements due to religious background. But according to the present study's findings, religious elements are also available in USA horror film naming. Yet, while making and naming their films, American horror film producers pay more attention to cultural events than Turkish filmmakers. On the other hand, the keywords used in naming Turkish and American horror films, regardless of their languages, were the same.
{"title":"A Corpus-Based Socio-Onomastic Analysis On Turkish And American Horror Film Naming","authors":"Ferdi Bozkurt, Mandana Kolahdouz Mohammadi","doi":"10.5195/cinej.2023.589","DOIUrl":"https://doi.org/10.5195/cinej.2023.589","url":null,"abstract":"Both fear and horror have been extensively explored as universal unpleasant emotions with significant effects on psychological well-being. It is believed that horror is the feeling aroused when watching a horror film, and a sense of suspense and resolution is behind it. The present study explores how cultural, social, interactive, and cognitive contexts influence Turkish and American horror film naming. The present study aims to analyze Turkish and American horror film titles based on a socio-onomastic approach. So, 223 Turkish (1949-2021) and 2840 American (1898-2023) horror movie titles were investigated. The hypothesis was that Turkish horror film naming uses religious elements due to religious background. But according to the present study's findings, religious elements are also available in USA horror film naming. Yet, while making and naming their films, American horror film producers pay more attention to cultural events than Turkish filmmakers. On the other hand, the keywords used in naming Turkish and American horror films, regardless of their languages, were the same.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"21 9","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139168487","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}
Lots of debates, contestations and criticisms have continued to trail the subjugation of women in Nollywood narratives. Film scholars and critics, especially those who tow the feminist line, keep bemoaning the manner in which patriarchy and male hegemony take centre stage in many Nollywood movies to the detriment of women. Employing the mixed research methodology (qualitative content analysis and key informant interview), this study explores the loud silence in women’s struggle for liberation in contemporary Nollywood narratives. Three widely acclaimed and contemporary movies – Muna (2019), Omo Ghetto: The Saga (2020) and Fine Wine (2021) – were content analysed to foreground and highlight male chauvinism and hegemony as well as women’s struggle for their liberation. Though women’s silence in the movies is as prolonged as it is loud, the fierce fight they later put up against male oppression comes as a great solace. Therefore, it is concluded that Nollywood film-makers should continue to give preeminence to such issues in subsequent narratives.
许多辩论、争论和批评一直围绕着诺莱坞叙事中对妇女的压制问题。电影学者和评论家，尤其是那些女权主义者，一直在抱怨父权制和男性霸权在许多诺莱坞电影中占据中心地位，从而损害了女性的利益。本研究采用混合研究方法（定性内容分析和关键信息访谈），探讨了当代诺莱坞叙事中妇女争取解放的斗争中的巨大沉默。本研究对三部广受赞誉的当代电影--《穆娜》（Muna，2019 年）、《奥莫贫民窟：传奇》（Omo Ghetto: The Saga，2020 年）和《美酒》（Fine Wine，2021 年）--进行了内容分析，以突出和强调大男子主义和霸权主义以及妇女争取解放的斗争。虽然女性在电影中的沉默是漫长而响亮的，但她们后来反抗男性压迫的激烈斗争却给了我们极大的慰藉。因此，结论是诺莱坞电影制作人应继续在后续叙事中优先考虑此类问题。
{"title":"When Silence Becomes Overstretched: Exploring the Loud Silence in Women's Struggle for Liberation in Contemporary Nollywood","authors":"Osakpolor Emwinromwankhoe","doi":"10.5195/cinej.2023.470","DOIUrl":"https://doi.org/10.5195/cinej.2023.470","url":null,"abstract":"Lots of debates, contestations and criticisms have continued to trail the subjugation of women in Nollywood narratives. Film scholars and critics, especially those who tow the feminist line, keep bemoaning the manner in which patriarchy and male hegemony take centre stage in many Nollywood movies to the detriment of women. Employing the mixed research methodology (qualitative content analysis and key informant interview), this study explores the loud silence in women’s struggle for liberation in contemporary Nollywood narratives. Three widely acclaimed and contemporary movies – Muna (2019), Omo Ghetto: The Saga (2020) and Fine Wine (2021) – were content analysed to foreground and highlight male chauvinism and hegemony as well as women’s struggle for their liberation. Though women’s silence in the movies is as prolonged as it is loud, the fierce fight they later put up against male oppression comes as a great solace. Therefore, it is concluded that Nollywood film-makers should continue to give preeminence to such issues in subsequent narratives.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"95 15","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138954175","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}
While recent scholarship has discussed the gendered subject/object relations within The Blair Witch Project and Heather’s victimization by the male gaze of the horror-genre’s camera, my work rebuts and clarifies the level through which this victimization is occurring. I argue we must understand how BWP functions on three different metatextual layers—Heather’s documentary, the implied documentary of The Blair Witch Project, and the Myrick and Sánchez mockumentary—to see the ways in which Myrick and Sánchez have exploited spectator expectations of the horror genre to underwrite a critique of the genre’s reliance on the villainization and objectification of women, both through the cinematic absence of the Blair Witch herself and the use of Heather as ‘vanished’ female filmmaker.
{"title":"The Blair Witch Project: Metatextual Layers of Subverting the Female Gaze","authors":"Emily Moeck","doi":"10.5195/cinej.2023.471","DOIUrl":"https://doi.org/10.5195/cinej.2023.471","url":null,"abstract":"While recent scholarship has discussed the gendered subject/object relations within The Blair Witch Project and Heather’s victimization by the male gaze of the horror-genre’s camera, my work rebuts and clarifies the level through which this victimization is occurring. I argue we must understand how BWP functions on three different metatextual layers—Heather’s documentary, the implied documentary of The Blair Witch Project, and the Myrick and Sánchez mockumentary—to see the ways in which Myrick and Sánchez have exploited spectator expectations of the horror genre to underwrite a critique of the genre’s reliance on the villainization and objectification of women, both through the cinematic absence of the Blair Witch herself and the use of Heather as ‘vanished’ female filmmaker.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135618832","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}
Lebanese filmmaker, actress, and screenwriter Nadine Labaki’s 2011 film Where Do We Go Now? is about the ideological manipulation that gradually results in a big conflict among people in a rural Middle Eastern village where Muslims and Christians live in a peaceful existence. Labaki is known for her politically engaged narratives which refer to the recent political past of Lebanese whilst centralizing strong female figures. Where Do We Go Now? is no exception, and thus, reflects the director's general cinematic style and political attitude. Labaki invites her audience through the comedy to question ideology which interpellates and thus constructs the individual as a subject by revealing the ways ideology creates differences, separation, and conflict among people. In this context, this article strives to analyze the film Where Do We Go Now? employing critical discourse analysis with references to Althusser's conceptualization of ideology and Subject-subject formation.
{"title":"A Narrative of An Ideological Destruction: Where Do We Go Now?","authors":"Gamzenur Aygün, Ayça Tunç Cox","doi":"10.5195/cinej.2023.506","DOIUrl":"https://doi.org/10.5195/cinej.2023.506","url":null,"abstract":"Lebanese filmmaker, actress, and screenwriter Nadine Labaki’s 2011 film Where Do We Go Now? is about the ideological manipulation that gradually results in a big conflict among people in a rural Middle Eastern village where Muslims and Christians live in a peaceful existence. Labaki is known for her politically engaged narratives which refer to the recent political past of Lebanese whilst centralizing strong female figures. Where Do We Go Now? is no exception, and thus, reflects the director's general cinematic style and political attitude. Labaki invites her audience through the comedy to question ideology which interpellates and thus constructs the individual as a subject by revealing the ways ideology creates differences, separation, and conflict among people. In this context, this article strives to analyze the film Where Do We Go Now? employing critical discourse analysis with references to Althusser's conceptualization of ideology and Subject-subject formation.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135617570","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 aims to investigate the contemporary aspects of adaptation from ancient plays, presenting a reading of The Killing of a Sacred Deer (2017). A comparative view towards Iphigenia at Aulis by Euripides (405 BC) raises the question of how story elements of that play are recreated within the film adaptation. Also, it seeks to explore the relationship between the type of engagement, from hypotext (play) “telling” to hypertext (film) “showing”. The theoretical framework of the article utilized theories of Gerard Genette’s “hypertextuality” and Linda Hutcheon’s “adaptation”. The results indicate subtle thematic connections, as well as a significant interplay between hypotext and hypertext. The Killing of a Sacred Deer represents an adaptation with a creative interpretation, one which reimagines the forms and themes of ancient tragedy in a modern-life context. Various influences, imitations and transformations of Euripides’ story elements are interwoven in the adaptation process and discussed in the article.
{"title":"Ancient Telling, Contemporary Showing: A Reading of The Killing of a Sacred Deer (2017) As Film Adaptation","authors":"Poya Raissi, Morteza Ghaffari","doi":"10.5195/cinej.2023.465","DOIUrl":"https://doi.org/10.5195/cinej.2023.465","url":null,"abstract":"This article aims to investigate the contemporary aspects of adaptation from ancient plays, presenting a reading of The Killing of a Sacred Deer (2017). A comparative view towards Iphigenia at Aulis by Euripides (405 BC) raises the question of how story elements of that play are recreated within the film adaptation. Also, it seeks to explore the relationship between the type of engagement, from hypotext (play) “telling” to hypertext (film) “showing”. The theoretical framework of the article utilized theories of Gerard Genette’s “hypertextuality” and Linda Hutcheon’s “adaptation”. The results indicate subtle thematic connections, as well as a significant interplay between hypotext and hypertext. The Killing of a Sacred Deer represents an adaptation with a creative interpretation, one which reimagines the forms and themes of ancient tragedy in a modern-life context. Various influences, imitations and transformations of Euripides’ story elements are interwoven in the adaptation process and discussed in the article.","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135617574","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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