PDF Görüntüle

Total Page:16

File Type:pdf, Size:1020Kb

PDF Görüntüle 1 Galeri Apel’in 20. yılı için yayınlanmıştır. Published on the occasion of Gallery Apel’s 20th year. İstanbul 2019 Yayına hazırlayanlar: Edited by: Ezgi Ateş Melissa Ece Köpük Emre Senan Ayşecan Terzioğlu Nuran Terzioğlu Sinem Üstün Burcu Yıldırım Tasarım: Designed by: Emre Senan Siyah beyaz fotoğraflar: Black and white photography: Nevzat Sayın Baskı ve cilt: Printed and bound by: ISBN no: Çeviriler: Translations: Nostospektif / Hugh Jefferson Turner Sergi Metinleri / Linda Stark GALERİ APEL Günlük Hayatı ”Davet Eden” Galeri/ Hugh Jefferson Turner Apel İçin Ne Dediler / Hugh Jefferson Turner 3 APEL SANATÇILARINA TO THE ARTISTS OF APEL 20. YIL 20th YEAR 5 NOSTOSPEKTİF 2018’in Haziran ayındayız. Galeri Apel’de galerinin öngörerek 45 sanatçının katılımıyla “Art-Kart” adlı 20. yılı için hazırlanan sergi dizisi “Nostospektif” bir sergi yapıp asrın dönüşümünü simgelemek bu sezonun sonuna kadar devam ediyor. Bu uzun istedik. Kartpostallar SMS, güzelim pullar damga, zaman zarfında, Apel’de sergi açmış veya sergilere davetiyeler mail oldu. Bütün bu değişimlere rağmen, eserleriyle katkıda bulunmuş birçok sanatçının biz yine de “Nostospektif” sergi kataloğunu ilerde özverili katılımıyla gerçekleşen, galerinin geçmiş eline alacaklara, Apel’i ve sergilerini şekillendiren ve şimdiki zamanından eserleri harmanlayan Beyoğlu’ndan selam ederiz. bu sergi dizisi kataloglarımızın dördüncüsünü hazırlamamıza vesile oldu. Katalogların ilki, “Benim Bu kataloğun tasarımını Galeri Apel sanatçılarından Adım Apel” adıyla, galerilerin parlak yıllarından Emre Senan bir kez daha kıymetli zamanını ayırarak, 2008’de yayınlandı. Ülkemizde seksen yıla ancak enerji dolu yaratıcılığı ve eğitimci titizliğiyle yaptı. yaklaşan galericilik geçmişi düşünüldüğünde tarihe Emeği geçen herkese sonsuz teşekkürlerimle. ve yıldönümlerine verilen önem daha iyi anlaşılır. Nitekim onuncu yıl sergimiz “Je m’appelle Apel” in hazırlıklarına başladığımızda sevgili Osman Kavala Tophane’deki Tütün Deposu’nu, Fransız Kültür Merkezi yetkilileri ise İstiklal Caddesi’ndeki Fransız Kültür Merkezi’ni bu sergiye mekan olarak kullanmamızı sağladılar. 20. yıl sergimiz “Nostospektif” ise Galeri Apel mekanında, perde perde değişerek, beş ayrı sergi olarak birbirini takip etti. Serginin adıyla yayınlanacak olan bu kataloğumuzda, diğer üç katalogda da olduğu gibi, kronolojik sırayla 2014’ten bu yana açılan sergilerin tanıtımları ve aynı dönemde medyada yayınlanan galeri ile ilgili yazılar ve söyleşiler yer almaktadır. Katalogları bir tür zaman tüneline benzetmek yanlış olmaz. En azından Apel kataloglarını karıştırınca geçen yirmi yıla dair kimi bulgularla karşılaşılır. Apel’in özelliklerinden biri olan ve sayıları çoktan elliyi aşmış yurtiçi ve yurtdışı konulu sergilerinde günlük olayların ve olguların yansımalarını bulmak olasıdır. Örneğin “Maden ve Cevher” konulu sergimizde Soma maden faciasının çağrışımlarına sıkça rastlamak mümkündür. Uluslararası Frankfurt Kitap Fuarı’nda 2008 yılında Türkiye’nin konuk ülke olması, Apel’in 2007 tarihinde düzenlediği “Okuma Köşesi” konulu serginin dört farklı şehirden davet almasına neden oldu. Sergi, 2008’de Frankfurt NURAN TERZİOĞLU Kitap Fuarı’nda, fuarın sanata ayrılmış katı olan “Art Space”de, Siena’da Santa Maria Della Scala’da, 2009’da Hamburg’da Museum der Arbeit’da yer alırken, her seferinde mekana ve ortama göre yeniden düzenlendi. Apel’in 2006’da Darphane-i Amire’de açtığı “Zamanın Lale Hali” sergisi ise İstanbul Lale Festivali’nin başlamasıyla gerçekleşti. Türkiye’de sıklıkla yapılan seçimler “Balkon” konulu serginin, Galata Port inşaatı ise “Liman” konulu serginin ilham kaynağı oldu. Bunlar gibi geçmişe ve günümüze dair bir çok sergi hikayesi sayabiliriz, ama bugün geleceğe dair söz söylemek zor. Hızla değişen dünyaya ayak uydurmak da zor. 1999 sonunda kartpostalların mazi olacağını 7 6 7 NOSTOSPECTIVE It is now June 2018, and the exhibition series I could tell the story of many other similar Nostospective, organized to commemorate Gallery exhibitions dealing with the past and the world today. Apel’s twentieth anniversary, will continue until the But it is difficult, now, to say much about the future. end of the season. The exhibition has been realized The world around us is swiftly changing, and it is with the participation of many of the artists who hard to keep pace. In late 1999, figuring that postcards have held exhibitions or displayed their work at would soon become a thing of the past, we organized the gallery over the past twenty years. It brings the exhibition Art-Kart with the participation together many works from the gallery’s past and of forty-five artists in an effort to capture the from its present, and it has provided us the occasion transformation of the era. Postcards have given to prepare another of our gallery’s catalogues—our way to text messages; and in place of the beautiful, fourth. The first catalogue, Je m’appelle Apel, was stamped letters and invitations of the past, we now published in 2008, one of the galleries’ golden years. receive emails. Still, in spite of all the changes taking When one considers that art galleries have only place around us, we remain here in Beyoğlu, a place been around in our country for a mere eighty years that has shaped our gallery and our exhibitions, and or so, one can better appreciate the importance we we send out our greetings to all of you who will one place on histories and anniversaries. When we began day pick up this up this Nostospective catalogue and preparations for our tenth-anniversary exhibition, hold it in your hands. Je m’appelle Apel, my dear friend Osman Kavala and officials at the French Cultural Center helped Emre Senan, one of our Gallery Apel artists, is to be secure the venues for our exhibition, respectively the thanked for once again dedicating so much of his old Tobacco Warehouse in Tophane and the French valuable time to the design of this catalogue and for Cultural Center on Istiklal Caddesi. For our twentieth- carrying out the task with such energetic creativity anniversary exhibition series, Nostospective, five and his educator’s attention to detail. My endless consecutive exhibitions have been held at Gallery thanks to all those whose hard work has brought this Apel itself. The Nostospective catalogue will, like the catalogue to life. gallery’s three previous catalogues, chronologically follow the exhibitions held at Gallery Apel since 2014, pairing images from the exhibitions with descriptions and excerpts from contemporary media coverage. It would not be wrong to compare a catalogue like this one to a window through time. Flipping through the pages of Apel’s catalogues, one catches glimpses of the past twenty years. One finds echoes of the events and episodes of the past in Apel’s distinctive exhibitions, more than fifty of which have been held in Turkey and abroad. Frequent allusions to the Soma mining disaster, for example, can be found in our Mines and Ores exhibition. To mark Turkey’s NURAN TERZİOĞLU participation in the 2008 Frankfurt Book Fair, Apel organized a Reading Corner exhibition in 2007 for which it received invitations from four separate cities. The exhibition was put on at the “Art Space” section of the Frankfurt Book Fair in 2008 as Guest of Honor, at the Santa Maria della Scala in Siena, Italy, and at the Hamburg Museum der Arbeit in 2009. Each time, the exhibition was re-tailored to suit the new venue and its atmosphere. Apel’s 2006 exhibition Tenses of Tulip took place at the Ottoman Imperial Mint building to coincide with the start of the Istanbul Tulip Festival. Turkey’s frequent elections inspired the exhibition Balcony, and the construction of the Galata Port did the same for the exhibition Harbor. 9 8 9 NEVZAT SAYIN ZEYNEP PERİNÇEK SIGNORET HEM BAHAR HEM GÜZ BETWEEN THE BLUE AND THE GREY 30 ekim – 05 aralık 2014 30 october– 05 december 2014 Ben beni bilirim Gel gör anlatamam Gir bak içerde Hem bahar hem güz Dünya malında Komşu bağında Billa gözüm yok Dururum dümdüz Sezen Aksu “Gözlerine Göz Değmiş” İSİMSİZ Sanatçı, Galeri Apel’deki dördüncü kişisel sergisi “Hem Bahar UNTITLED Hem Güz” ile bir kez daha izleyicileriyle buluşuyor. 2014 There’s a battle going on Between the blue and the grey Tom Waits “Back in the Crowd” Zeynep Perinçek Signoret is realizing her fourth solo show at Gallery Apel. IŞIĞA KARŞI AGAINST THE LIGHT 2014 DORUKTA IŞIĞA KARŞI ON THE CREST AGAINST THE LIGHT 2014 2014 12 13 ASLIMAY ALTAY GÖNEY CONTEMPORARY İSTANBUL 2014 PERFORMANS PERFORMANCE İSTANBUL KONGRE MERKEZİ 2014 3 kasım 2014- 16 kasım 2014 13 november 2014 – 16 november 2014 Aslımay Altay Göney Şakir Gökçebağ Suzy Hug Levy Nermin Kura Emre Senan Yıldız Şermet Hande Varsat ŞAKİR GÖKÇEBAĞ İSİMSİZ UNTITLED 2010 NERMİN KURA YENİ DOKULAR NEW THREADS 2013 DETAY/DETAIL HANDE VARSAT EMRE SENAN NAMUSUMU BANA BIRAK KİBAR MASA HANDS OFF MY HONOUR A TABLE WITH MANNERS 2011 2007 SUZY HUG LEVY YILDIZ ŞERMET RÜZGARDA BİR AĞAÇ TEL TEPE BLOWING IN THE WIND WIRE HILL 2014 2014 2014 14 15 BAYRAM CANDAN BU İŞ YERİNDE BAYRAM VAR BAYRAM 13 aralık 2014 – 13 ocak 2015 13 december – 13 january 2015 İki yıl önce, İstanbul’a uğradığında Bayram’la yeni bir kişisel sergi için sözleştik. Kendisi açılacak serginin desen ağırlıklı olmasını önerdi. Söz konusu sergi Bayram Candan hayattayken gerçekleşemedi. Bu yıl ise değerli ailesi ve candan dostları bir araya gelerek arzularımızı, özlemlerimizi dile getirdik ve bir sergi düzenleme kararı aldık. Bayram’ın son dönem resimlerinin yanısıra geçmiş sergilerinden bazı unutulmaz eserlerin de yer alacağı bu ‘anı’ sergisi için özellikle
Recommended publications
  • Cinema and Politics
    Cinema and Politics Cinema and Politics: Turkish Cinema and The New Europe Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy Cinema and Politics: Turkish Cinema and The New Europe, Edited by Deniz Bayrakdar Assistant Editors Aslı Kotaman and Ahu Samav Uğursoy This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Deniz Bayrakdar and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-0343-X, ISBN (13): 978-1-4438-0343-4 TABLE OF CONTENTS List of Images and Tables ......................................................................... viii Acknowledgements .................................................................................... ix Preface ........................................................................................................ xi Introduction ............................................................................................. xvii ‘Son of Turks’ claim: ‘I’m a child of European Cinema’ Deniz Bayrakdar Part I: Politics of Text and Image Chapter One ................................................................................................
    [Show full text]
  • Turkish Cinema
    Turkish cinema Nezih Erdoğan Deniz Göktürk The first years Cinema, as a Western form of visual expression and entertainment, did not encounter resistance in Turkey, a country culturally and geographically bridging East and West. It perfectly represented the ambivalent attitudes of the national / cultural identity under construction. On one hand, cinema came as a sign of modernization / Westernization, not only for the images of the Westbeing projected onto the screen, but also for the condi- tions of its reception. Cinematography was a technological innovation imported from the West and the ritual of going to the movies became an important part of the modern urban experience. On the other hand, cinema offered possibilities for the production of a ‘national discourse’. Many of the early feature films reflect the ‘birth of a nation’ or resis- tance to the Allied Forces during World War I. The audience was already familiar with the apparatus (theatre, screen, figures, music and sound, light and shadow), which bore some resemblance to the traditional Turkish shadowplay Karagöz, one of the most popular entertainment forms of the past. Ayse Osmanoğlu, the daughter of Sultan Abdülhamid II, remembers that the French illusionist of the palace used to go to France once a year and return with some novelties to entertain the palace population; a film projector throwing lights and shadows on a wall was the most exciting of these spectacles. The first public exhibition took place in 1896 or 1897 in the Sponeck pub, which was frequented by non-Muslim minorities (namely Levantines), as well as Turkish intellectuals infatuated with the Western civilization in Pera (today Beyoğlu), a district in the European part of Istanbul known for its cosmopolitan character.
    [Show full text]
  • View / Download 2.4 Mb
    For Dad and Mom, Ronald Frances Sheridan (1937 –2017) Louise Anna McLellan Sheridan (1942 –2018) “I CURSE NO ONE WITHOUT CAUSE”: IDENTITY, POWER, RIVALRY, AND INVECTIVE IN THE EARLY 17TH-CENTURY OTTOMAN COURT The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by MICHAEL DOUGLAS SHERIDAN In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HISTORY THE DEPARTMENT OF HISTORY İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA January 2018 ABSTRACT “I CURSE NO ONE WITHOUT CAUSE”: IDENTITY, POWER, RIVALRY, AND INVECTIVE IN THE EARLY 17TH-CENTURY OTTOMAN COURT Sheridan, Michael Douglas Ph.D., Department of History Supervisor: Assoc. Prof. Dr. Mehmet Kalpaklı January 2018 In the early 17th-century Ottoman Empire, a series of sociocultural, administrative, political, and economic changes were underway that left their mark on how the learned and cultural elite viewed the empire and themselves. Though contemporary sources reflect these shifts in many ways , this period’s rich corpus of invective verse , centering around the poet Nefʿī , has been understudied as a historical source. This dissertation rectifies this neglect by examining this invective corpus as a locus of rivalries and enmities revealing how those involved agonistically defined and were defined by their others, thus necessarily defining themselves in the process. Observing this process of definition and self-definition in the light of contemporary historical developments and sources, the dissertation examines invectives produced against both patrons ( i.e., vertical invective) and fellow poet/clients ( i.e., horizontal invective) in such a way as to demonstrate how the ferocity of the period’s invective verse, and reactions thereto, laid bare how Ottoman elites’ imaginary of themselves was in fact a marginalizing construct.
    [Show full text]
  • Download/Publicacoes/World%20Charter%20For% 20The%20Right%20To%20The%20City.Pdf
    Cover Page The handle http://hdl.handle.net/1887/49670 holds various files of this Leiden University dissertation. Author: Cengiz, N.B. Title: 'Non-Istanbulites' of Istanbul : the right to the city novels in Turkish literature from the 1960s to the present Issue Date: 2017-06-13 ‘NON-ISTANBULITES’ OF ISTANBUL: THE RIGHT TO THE CITY NOVELS IN TURKISH LITERATURE FROM THE 1960S TO THE PRESENT N. BUKET CENGİZ Leiden University, Institute for Area Studies S1108743 1 INTRODUCTION Background and Central Question I started working on the proposal for this dissertation in September 2010, at the beginning of the last quarter of a year that had been spent in celebrations of Istanbul 2010, European Capital of Culture. There were numerous events in the city – concerts, exhibitions, film screenings, panel discussions and so forth. From outside, everything looked fine; Istanbul 2010 seemed to mesh in a perfect way with the city’s acceleration on the list of the hip cities of the world. On the other hand, things were not that positive for those who were being pushed out of a rapidly gentrifying city centre. Neighbourhoods such as Sulukule were being removed from the memory of the city, rents and flat prices were getting higher and higher, while in numerous neighbourhoods, people were living in anxious expectation of urban transformation projects. This made me think about these people who were suffering the most because of the drastic changes, as Istanbul was competing in the race to become a global city: these people living in poor neighbourhoods in the city centre, or in ex-shanty-towns which were whetting the appetites of building contractors.
    [Show full text]
  • Reflections of Urban Poor in Social Realist Films in Turkey
    REFLECTIONS OF URBAN POOR IN SOCIAL REALIST FILMS IN TURKEY A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY YILDIRIM UYSAL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY OCTOBER 2015 Approval of the Graduate School of Social Sciences Prof. Dr. Meliha Altunışık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Sibel Kalaycıoğlu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Prof. Dr. Mehmet Ecevit Supervisor Examining Committee Members Prof. Dr. Kurtuluş Kayalı (AÜ, DTCF) Prof. Dr. Mehmet Ecevit (METU, SOC) Prof. Dr. Tayfun Atay (OKAN Ü., SOC) Assoc.Prof.Dr. Erdoğan Yıldırım (METU, SOC) Prof.Dr. Helga Rittersberger Tılıç (METU, SOC) PLAGIARISM I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Yıldırım Uysal Signature : v ABSTRACT THE REFLECTIONS OF URBAN POOR IN SOCIAL REALIST FILMS OF TURKEY Uysal, Yıldırım Ph.D., Department of Sociology Supervisor: Prof. Dr. Mehmet Ecevit October 2015, 362 pages This dissertation is analyzing the reflections of urban poor in social realist films in Turkey, within a perspective that begins at the beginning of 1960s and finishes at the end of 1980s.
    [Show full text]
  • Ferzan Özpetek
    THE SPACE BETWEEN A PANORAMA OF CINEMA IN TURKEY This catalog has been published in conjunction with “The Space Between: A Panorama of Cinema in Turkey” co-presented by The Film Society of Lincoln Center and Moon and Stars Project of The American Turkish Society The Film Society of Lincoln Center April 27-May 10, 2012 Walter Reade Theater Elinor Bunin Munroe Film Center New York City The Film Society of Lincoln Center 165 West 65th Street New York, NY 10023 (212) 875-5610 Moon and Stars Project c/o The American Turkish Society 305 E. 47th Street, 8th Floor New York, NY 10017 (212) 583-7614 Written by Richard Peña, Doğa Kayalar Polat, Sean M. Dixon, Alexandra N. Sprano Edited by Binnaz Saktanber Graphic Design by Çağan Yüksel and Jacqueline M. Rivera Printed by Paragraf Basım From Moon and Stars Project of The American Turkish Society Dear Friends: It is our pleasure to co-present with The Film Society of Lincoln Center “The Space Between: A Panorama of Cinema in Turkey.” As part of our mission to highlight the changing face of Turkey’s arts and culture scene in the United States - as well as The American Turkish Society’s overall objective of enhancing mutual understanding between our countries - we have been true believers in the power of cinema not only in transporting audiences to distant places, but also reflecting the universality of the human experience. Building on this idea, Moon and Stars Project has been presenting and supporting numerous film events since its inception in order to expose American audiences and cinema professionals to Turkey’s rising film scene as well as to the developments in the country.
    [Show full text]
  • Representations of Istanbul in Two Hollywood Spy Films About World War I and World War Ii
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES FILM REPRESENTATIONS OF ISTANBUL IN TWO HOLLYWOOD SPY FILMS ABOUT WORLD WAR I AND WORLD WAR II by H. ALİCAN PAMİR Thesis for the degree of Master of Philosophy October 2015 i ii UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES FILM Thesis for the degree of Master of Philosophy REPRESENTATIONS OF ISTANBUL IN TWO HOLLYWOOD SPY FILMS ABOUT WORLD WAR I AND WORLD WAR II Hüseyin Alican Pamir This thesis focuses on the representation of Istanbul in foreign spy films. Drawing on the work of Stephen Barber (2002), Charlotte Brundson (2007), David B. Clarke (1997) and Barbara Mennel (2008), the thesis proposes five city film properties, which are used when analysing Istanbul spy films. These properties are: first, ‘city landmarks, cityscapes and city spectacles’; second, ‘cinematic constructions of social life via social and power relations’; third, the ‘relationship between the protagonist and the city’; fourth, the ‘cinematic city trope and mise-en-scène’; and finally, the ‘story of a city’ or ‘the idea of a city’.
    [Show full text]
  • Osmanli Araştirmalari the Journal of Ottoman Studies
    OSMANLI ARAŞTIRMALARI THE JOURNAL OF OTTOMAN STUDIES SAYI / ISSUE 46 • 2015 OSMANLI ARAŞTIRMALARI THE JOURNAL OF OTTOMAN STUDIES İSTANBUL 29 MAYIS ÜNİVERSİTESİ OSMANLI ARAŞTIRMALARI THE JOURNAL OF OTTOMAN STUDIES Yayın Kurulu / Editorial Board Prof. Dr. Halil İnalcık – Prof. Dr. İsmail E. Erünsal Prof. Dr. Heath Lowry – Prof. Dr. Feridun M. Emecen Prof. Dr. Ali Akyıldız – Prof. Dr. Bilgin Aydın Doç. Dr. Baki Tezcan – Doç. Dr. Seyfi Kenan İstanbul 2015 Bu dergi Arts and Humanities Citation Index – AHCI (Thomson Reuters), Turkologischer Anzeiger ve Index Islamicus tarafından taranmakta olup TÜBİTAK ULAKBİM Sosyal ve Beşeri Bilimler veri tabanında yer almaktadır. Articles in this journal are indexed or abstracted in Arts and Humanities Citation Index – AHCI (Thomson Reuters), Turkologischer Anzeiger, Index Islamicus and TÜBİTAK ULAKBİM Humanities Index. Baskı / Publication TDV Yayın Matbaacılık ve Ticaret İşletmesi Sipariş / Order [email protected] www.isam.com.tr Osmanlı Araştırmaları yılda iki sayı yayımlanan uluslararası hakemli bir dergidir. Dergide yer alan yazıların ilmî ve fikrî sorumluluğu yazarlarına aittir. The Journal of Ottoman Studies is a peer-reviewed, biannual journal. The responsibility of statements or opinions uttered in the articles is upon their authors. İcadiye Bağlarbaşı caddesi 40, Bağlarbaşı 34662 Üsküdar-İstanbul, Tel. (0216) 474 08 50 Fax (0216) 474 08 74 www.isam.org.tr [email protected] © İslâm Araştırmaları Merkezi (İSAM), 2015 Osmanlı Araştırmaları / The Journal of Ottoman Studies Sayı / Issue XLVI · yıl / year 2015 Sahibi / Published under TDV İslâm Araştırmaları Merkezi ve İstanbul 29 Mayıs Üniversitesi adına the auspices of Prof. Dr. Raşit Küçük - Prof. Dr. İbrahim Kâfi Dönmez Yazı İşleri Müdürü Prof.
    [Show full text]
  • Non Realist Tendencies in New Turkish Cinema ! ! ! !
    ! ! NON REALIST TENDENCIES IN NEW TURKISH CINEMA ! ! ! ! A Master’s Thesis ! by İCLAL CAN ! ! ! ! ! ! Department of Communication and Design İhsan Doğramacı Bilkent University Ankara August! 2016 ! ! ! ! ! ! ! ! ! To my family ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! NON REALIST TENDENCIES IN NEW TURKISH CINEMA ! ! Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent! University ! ! by İCLAL CAN ! ! ! In Partial Fulfillment of the Requirements for the Degree of MASTER !OF ARTS ! ! in ! ! ! THE DEPARTMENT OF COMMUNICATION AND DESIGN İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA ! August 2016 ! ! ! ! ABSTRACT NON REALIST TENDENCIES IN NEW TURKISH CINEMA Can, İclal M.A., in Media and Visual Studies Supervisor: Assist. Prof. Dr. Ahmet Gürata August, 2016 ! The realist tendency which had been dominant in cinema became more apparent with Italian neorealism affecting other national cinemas to a large extent. With the changing and developing socio economic and cultural dynamics, realism gradually has stopped being a natural constituent of cinema and the rate of observing non realist films has started to increase in cinema. Along the same line, Turkish cinema was also impressed by the realist tendencies especially with the classic realist films in Yeşilçam period and with Yılmaz Güney’s social realism. However, as for 80s in Turkish cinema, the non realist films have been observed with some films of Atıf Yılmaz, and especially by 2000s some prominent directors of new Turkish cinema such as Onur Ünlü, Semih Kaplanoğlu and Reha Erdem have dealt with those kinds of films. In this thesis, the mentioned directors are investigated within the context of how they conceive and construct their cinematic world, and in this regard, this thesis provides a close reading on their non realist tendencies which are discussed over some of their films in terms of their approaches as magical realism with Onur Ünlü, spiritual realism with Semih Kaplanoğlu and anthropocene realism with Reha Erdem.
    [Show full text]
  • � �Lf Sezen KAYHAN MÜLDÜR KOC Unıversıty ÜNİVERSİTESİ of Antwerp Graduate School of Social Sciences and Humanities
    Screen Production and Exhibition in lstanbul Under Urban Transformation PhD Thesis �,� �Lf Sezen KAYHAN MÜLDÜR KOC Unıversıty ÜNİVERSİTESİ of Antwerp Graduate School of Social Sciences and Humanities Screen Production and Exhibition in Istanbul Under Urban Transformation PhD Thesis Sezen KAYHAN MÜLDÜR A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Design, Technology and Society Program Supervisors: Assoc. Prof. Dr. İpek Azime Çelik Rappas Prof. Dr. Philippe Meers Istanbul, 2020 Faculty of Social Sciences Department of Communication Studies Visual and Digital Cultures Research Center Screen Production and Exhibition in Istanbul Under Urban Transformation Thesis for the degree of doctor in Film Studies and Visual Culture at the University of Antwerp to be defended by Sezen KAYHAN MÜLDÜR Supervisors: Prof. Dr. Philippe Meers Assoc. Prof. Dr. İpek Azime Çelik Rappas Antwerp, 2020 STATEMENT OF AUTHORSHIP This dissertation contains no material which has been accepted for any award or any other degree or diploma in any university or other institution. It is affirmed by the candidate that, to the best of her knowledge, the dissertation contains no material previously published or written by another person, except where due reference is made in the text of the dissertation. Signed Sezen Kayhan Müldür i Rumelifeneri Yolu Sarıyer 34450 İstanbul T: 0212 338 10 00 F: 0212 338 12 05 www.ku.edu.tr ETHICS COMMITTEE DECISION Meeting Date: 06.03.2020 Protocol No: 2020.083.IRB3.039 Principal Investigator (PI): Sezen Kayhan Müldür Title: Screen Production and Exhibition in Istanbul Under Urban Transformation Start Date: 21.04.2020 Duration of Approval: 1 year (with a possible extension) The research proposal with the title and protocol number given above and the supporting material have been thoroughly examined by the Ethics Committee for Social Sciences with regards to its aims, purpose, approach and methods.
    [Show full text]
  • Social Change in Turkey: an Analysis Through Selected Films
    SOCIAL CHANGE IN TURKEY: AN ANALYSIS THROUGH SELECTED FILMS A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY ÇİÇEK COŞKUN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF SOCIOLOGY SEPTEMBER 2014 iii iv Approval of the Graduate School of Social Sciences Prof.Dr. Meliha Altunışık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Doctor of Philosophy. Prof.Dr. Ayşe Saktanber Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Doctor of Philosophy. Assoc.Prof.Dr. Mustafa Şen Supervisor Examining Committee Members Prof. Dr. Ayşe Gündüz Hoşgör (METU, SOC) Prof.Dr. Kurtuluş Kayalı(ANKARA UNV,HIST) Prof. Dr. Recep Boztemur (METU, HIST) Assoc. Prof. Dr. Mustafa Şen (METU, SOC) Assist. Prof. Dr. Çağatay Topal (METU, SOC) v I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name: Çiçek Coşkun Signature : iii ABSTRACT SOCIAL CHANGE IN TURKEY: AN ANALYSIS THROUGH SELECTED FILMS Coşkun, Çiçek Ph.D., Department of Sociology Supervisor: Assoc.Prof.Dr. Mustafa Şen September 2014, 241 pages This study aims to contribute to the research literature through the comparative examination of selected field studies and cinema films on social change in Turkey between 1950 and 1980.
    [Show full text]
  • A Short History of Turkish Cinema: 1896-1990
    UvA-DARE (Digital Academic Repository) Eurimages and Turkish cinema: history, identity, culture Yılmazok, L. Publication date 2012 Link to publication Citation for published version (APA): Yılmazok, L. (2012). Eurimages and Turkish cinema: history, identity, culture. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 Chapter 1 A SHORT HISTORY OF TURKISH CINEMA: 1896-1990 The history of Turkish cinema exhibits similar traits to other national cinemas, but it also has a number of distinctive characteristics. 2 The economic and political conditions affecting the country had an inevitable impact on the film industry. Moreover, audience preferences played an important role in shaping the national cinema. Regarding the marked characteristics, it is possible to divide the history of Turkish cinema in three distinct periods up to 1990 that I will address in this chapter.
    [Show full text]