{"title":"<s:1>新闻报Doğacak?:从土耳其电影艺术的角度来看,这是一种不同的方式","authors":"Mehmet Yılmazata, E. Güven","doi":"10.5195/cinej.2022.525","DOIUrl":null,"url":null,"abstract":"Discussing the debate and ideological background regarding national cinema, this form of art shall be compared to several other contemporary cinematic currents in Turkey. In this study, a content analysis comprising one of the rarer examples of national cinema, the film \"Güneş Ne Zaman Doğacak?\" (Mehmet Kılıç, 1977) will be conducted while scanning secondary sources on Turkish cinema to present a concise picture; of the phenomenon that is known as 'national cinema.' Distinctive characteristics of the artistic language and the ideological background of the post-1960 Turkish cinema will be provided, among those, the phenomenon of a very blurred line between creative expressions and underlying ideological affiliations and the non-static developmental nature of cinematic fashions in influencing each other. ","PeriodicalId":41802,"journal":{"name":"CINEJ Cinema Journal","volume":"116 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2022-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Güneş Ne Zaman Doğacak?: A different approach from the perspective of Turkish cinematic art\",\"authors\":\"Mehmet Yılmazata, E. Güven\",\"doi\":\"10.5195/cinej.2022.525\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Discussing the debate and ideological background regarding national cinema, this form of art shall be compared to several other contemporary cinematic currents in Turkey. In this study, a content analysis comprising one of the rarer examples of national cinema, the film \\\"Güneş Ne Zaman Doğacak?\\\" (Mehmet Kılıç, 1977) will be conducted while scanning secondary sources on Turkish cinema to present a concise picture; of the phenomenon that is known as 'national cinema.' Distinctive characteristics of the artistic language and the ideological background of the post-1960 Turkish cinema will be provided, among those, the phenomenon of a very blurred line between creative expressions and underlying ideological affiliations and the non-static developmental nature of cinematic fashions in influencing each other. \",\"PeriodicalId\":41802,\"journal\":{\"name\":\"CINEJ Cinema Journal\",\"volume\":\"116 1\",\"pages\":\"\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-12-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"CINEJ Cinema Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5195/cinej.2022.525\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"CINEJ Cinema Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5195/cinej.2022.525","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
摘要
讨论关于民族电影的争论和意识形态背景,这种艺术形式应该与土耳其其他几个当代电影潮流进行比较。在这项研究中,内容分析包括一个罕见的国家电影的例子,电影“ neki Ne Zaman Doğacak?”(Mehmet Kılıç, 1977)将在扫描土耳其电影的二手资料的同时进行,以呈现一个简洁的画面;这种现象被称为“民族电影”。将提供1960年后土耳其电影的艺术语言和意识形态背景的独特特征,其中包括创造性表达与潜在的意识形态从属关系之间的界限非常模糊的现象,以及电影时尚相互影响的非静态发展性质。
Güneş Ne Zaman Doğacak?: A different approach from the perspective of Turkish cinematic art
Discussing the debate and ideological background regarding national cinema, this form of art shall be compared to several other contemporary cinematic currents in Turkey. In this study, a content analysis comprising one of the rarer examples of national cinema, the film "Güneş Ne Zaman Doğacak?" (Mehmet Kılıç, 1977) will be conducted while scanning secondary sources on Turkish cinema to present a concise picture; of the phenomenon that is known as 'national cinema.' Distinctive characteristics of the artistic language and the ideological background of the post-1960 Turkish cinema will be provided, among those, the phenomenon of a very blurred line between creative expressions and underlying ideological affiliations and the non-static developmental nature of cinematic fashions in influencing each other.