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THE MYTH of 'TERRIBLE TURK' and 'LUSTFUL TURK' Nevs
THE WESTERN IMAGE OF TURKS FROM THE MIDDLE AGES TO THE 21ST CENTURY: THE MYTH OF ‘TERRIBLE TURK’ AND ‘LUSTFUL TURK’ Nevsal Olcen Tiryakioglu A thesis submitted in partial fulfillment of the requirements of Nottingham Trent University for the degree of Doctor of Philosophy December 2015 Copyright Statement This work is the intellectual property of the author. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any re-use of the information contained within this document should be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed in the owner(s) of the Intellectual Property Rights. i Abstract The Western image of Turks is identified with two distinctive stereotypes: ‘Terrible Turk’ and ‘Lustful Turk.’ These stereotypical images are deeply rooted in the history of the Ottoman Empire and its encounters with Christian Europe. Because of their fear of being dominated by Islam, European Christians defined the Turks as the wicked ‘Other’ against their perfect ‘Self.’ Since the beginning of Crusades, the Western image of Turks is associated with cruelty, barbarity, murderousness, immorality, and sexual perversion. These characteristics still appear in cinematic representations of Turks. In Western films such as Lawrence of Arabia and Midnight Express, the portrayals of Turks echo the stereotypes of ‘terrible Turk’ and ‘lustful Turk.’ This thesis argues that these stereotypes have transformed into a myth and continued to exist uniformly in Western contemporary cinema. The thesis attempts to ascertain the uniformity and consistency of the cinematic image of Turks and determine the associations between this image and the myths of ‘terrible Turk’ and ‘lustful Turk.’ To achieve this goal, this thesis examines the trajectory of the Turkish image in Western discourse between the 11th and 21st centuries. -
AFI PREVIEW Is Published by the Age 46
ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors. -
Authorship and Post-Classical Hollywood" (2015)
Old Dominion University ODU Digital Commons Communication & Theatre Arts Faculty Communication & Theatre Arts Publications 2015 Understanding Tony Scott: Authorship and Post- Classical Hollywood Robert Arnett Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/communication_fac_pubs Part of the Film Production Commons Repository Citation Arnett, Robert, "Understanding Tony Scott: Authorship and Post-Classical Hollywood" (2015). Communication & Theatre Arts Faculty Publications. 20. https://digitalcommons.odu.edu/communication_fac_pubs/20 Original Publication Citation Arnett, R. (2015). Understanding Tony Scott: Authorship and Post-Classical Hollywood. Film Criticism, 39(3), 48-67. This Article is brought to you for free and open access by the Communication & Theatre Arts at ODU Digital Commons. It has been accepted for inclusion in Communication & Theatre Arts Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. Understanding Tony Scott: Authorship and Post-Classical Hollywood Robert Arnett Few directors represent post-classical Hollywood cinema better than Tony Scott. His Hollywood career arcs from the 1980s and the iconic Top Gun (1984) to 2010, with the underrated Unstoppable. Scott’s films innovated the fragmentation and excessiveness of the post-classical Hollywood films, including the ability to overwhelm to an extent that negates for many critics and academics the possibility of any substance. Of Tony Scott, David Thomson, in his massive The New Biographical Dictionary o f Film (2003), managed about 100— dismissive—words, issuing, in effect, a challenge: those that see something in Tony Scott have “the advantage over me” (794).1 What Thomson and others fail to see in Tony Scott’s all-too-short career is a Hollywood director with a distinct authorship in the post-classical context. -
Columbia Pictures: Portrait of a Studio
University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. -
Iiênäã MICHAEL DOUGLAS FRANÇOIS TRUFFAUT STEVEN
AFI SILVER THEATRE AND CULTURAL CENTER PROGRAM GUIDE AND MOVIE CALENDAR JULY 2 - SEPTEMBER 3 Totally Awesome ÀiÊÃÊvÊÌ iÊnäÃÀiÊÃÊvÊÌ iÊnäà MICHAEL DOUGLAS FRANÇOISÎ TRUFFAUT STEVEN SPIELBERG THIN MAN SPECIAL ENGAGEMENTS CONTENTS same day as GHOSTBUSTERS—unthinkable in today’s climate of 2 Totally Awesome 3: cautious scheduling—the film was a box office hit and remains a cult classic. DIR Joe Dante; SCR Chris Columbus; PROD Michael Finnell. More Films of the 1980s US, 1984, color, 106 min. RATED PG 6 Special Engagement: 25th Anniversary! LAWRENCE OF ARABIA BREAKIN’ Fri, July 10, 9:30; Mon, July 13, 9:45 Poppin’, lockin’, cross-cultural love a la WEST SIDE STORY, and Ice-T! 7 The Thin Man at 75 July 2 - September 3 Classically trained dancer Kelly (Lucinda Dickey) befriends Ozone and Turbo (legendary breakdancers Adolfo Quinones and Michael 8 The Films of François Truffaut, Now in its third year, the summer retrospective of 1980s Chambers), and these misfits take the establishment by storm when Part I films has become one of AFI Silver’s most successful series they join forces to enter a dance contest. DIR Joel Silberg; SCR/PROD ever…and there’s plenty more where that came from! Allen DeBevoise; SCR Charles Parker, Gerald Scaife; PROD David Zito. US, 1984, color, 90 min. RATED PG 10 AFI Life Achievement Award Here’s another season of '80s-era summer fun—some of Retrospective: Michael Douglas the enduring and influential cultural phenomena that 25th Anniversary! helped make us what we are today—including big hits, BREAKIN’ 2: ELECTRIC BOOGALOO cult classics and quite a few of today’s stars, back when 13 Steven Spielberg Retrospective, Sat, July 11, 9:45; Wed, July 15, 10:30 they were just starting out. -
Working Title Films and Transatlantic British Cinema Nathaniel
Working Title Films and Transatlantic British Cinema Nathaniel Townsend PhD University of York Theatre, Film and Television September 2014 2 Abstract This thesis presents a business history of the London-based film production company, Working Title Films. The focus is on the creative and business structures and processes through which Working Title has operated and, in turn, the individual and collective agency of the key players responsible for developing and maintaining these institutional determinants. The same set of research questions are applied to the principal filmmaking institutions with which Working Title has collaborated, and, more particularly, examines how Working Title has negotiated creative and business relationships with various larger film businesses. By taking a chronological approach to Working Title’s evolution, a detailed account of the company’s years as an independent production company (1984-1990), a subsidiary of PolyGram Filmed Entertainment (1990-1998) and a subsidiary of Universal Pictures (1998-present) is provided. The thesis also offers a historical and conceptual framework through which the business history of Working Title is analysed. In the first instance, this involves a reconsideration of the relationship between the film industries and cultures of Britain and Hollywood which combines the discourses of national cinema with more recent scholarship about transnational cinema. This conceptual reinterpretation is subsequently applied to three indicative business histories from the 1930s and 1940s: London Films, MGM-British and the Rank Organisation — and then to Working Title itself. The central concept of the thesis — ‘Transatlantic British Cinema’ — describes a type of cultural production that challenges orthodox accounts of British cinema as national cinema and indicates the ways in which representations of Britain and ‘Britishness’ function within transnational film culture. -
Official Ballot
OFFICIAL BALLOT AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. AFI’s 100 Years…100 CHEERS America's Most Inspiring Movies AFI has compiled this ballot of 300 inspiring movies to aid your selection process. Due to the extraordinarily subjective nature of this process, you will no doubt find that AFI's scholars and historians have been unable to include some of your favorite movies in this ballot, so AFI encourages you to utilize the spaces it has included for write-in votes. AFI asks jurors to consider the following in their selection process: CRITERIA FEATURE-LENGTH FICTION FILM Narrative format, typically over 60 minutes in length. AMERICAN FILM English language film with significant creative and/or production elements from the United States. Additionally, only feature-length American films released before January 1, 2005 will be considered. CHEERS Movies that inspire with characters of vision and conviction who face adversity and often make a personal sacrifice for the greater good. Whether these movies end happily or not, they are ultimately triumphant – both filling audiences with hope and empowering them with the spirit of human potential. LEGACY Films whose "cheers" continue to echo across a century of American cinema. 1 ABE LINCOLN IN ILLINOIS RKO, 1940 PRINCIPAL CAST Raymond Massey, Gene Lockhart, Ruth Gordon DIRECTOR John Cromwell PRODUCER Max Gordon SCREENWRITER Robert E. Sherwood Young Abe Lincoln, on a mission for his father, meets Ann Rutledge and finds himself in New Salem, Illinois, where he becomes a member of the legislature. Ann’s death nearly destroys the young man, but he meets the ambitious Mary Todd, who makes him take a stand on slavery. -
Stay Connected @Canbaylibraries
Concord Library, 60 Flavelle St, Concord NSW 2137 T 9911 6210 Five Dock Library, Level 1, 4-12 Garfield St, Five Dock NSW 2046 T 9911 6310 Concord Library, 60 Flavelle St, Concord NSW 2137 T 9911 6210 www.canadabay.nsw.gov.au Five Dock Library, Level 1, 4-12 Garfield St, Five Dock NSW 2046 T 9911 6310 www.canadabay.nsw.gov.au Stay connected @canbaylibraries It is recommended that students check with their teacher to see if these suggestions are appropriate. In choosing texts, it is important to include a variety of text types, i.e. film, novel, poetry etc. This area of study requires students to explore the ways in which the concept of discovery is represented in and through texts. Discovery can encompass the experience of discovering something for the first time or rediscovering something that has been lost, forgotten or concealed. Discoveries can be sudden and unexpected, or they can emerge from a process of deliberate and careful planning evoked by curiosity, necessity or wonder. Discoveries can be fresh and intensely meaningful in ways that may be emotional, creative, intellectual, physical and spiritual. They can also be confronting and provocative. They can lead us to new worlds and values, stimulate new ideas, and enable us to speculate about future possibilities. Discoveries and discovering can offer new understandings and renewed perceptions of ourselves and others. An individual’s discoveries and their process of discovering can vary according to personal, cultural, historical and social contexts and values. The impact of these discoveries can be far-reaching and transformative for the individual and for broader society. -
Film, History and Cultural Memory: Cinematic Representations of Vietnam-Era America During the Culture Wars, 1987-1995
FILM, HISTORY AND CULTURAL MEMORY: CINEMATIC REPRESENTATIONS OF VIETNAM-ERA AMERICA DURING THE CULTURE WARS, 1987-1995 James Amos Burton, BA, MA. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy September 2007 Abstract My thesis is intended as an intellectual opportunity to take what, I argue, are the “dead ends” of work on the history film in a new direction. I examine cinematic representations of the Vietnam War-era America (1964-1974) produced during the “hot” culture wars (1987-1995). I argue that disagreements among historians and commentators concerning the (mis)representation of history on screen are stymied by either an over- emphasis on factual infidelity, or by dismissal of such concerns as irrelevant. In contradistinction to such approaches, I analyse this group of films in the context of a fluid and negotiated cultural memory. I argue that the consumption of popular films becomes part of a vast intertextual mosaic of remembering and forgetting that is constantly redefining, and reimagining, the past. Representations of history in popular film affect the industrial construction of cultural memory, but Hollywood’s intertextual relay of promotion and accompanying wider media discourses also contributes to a climate in which film impacts upon collective memory. I analyse the films firmly within the discursive moment of their production (the culture wars), the circulating promotional discourses that accompany them, and the always already circulating notions of their subjects. The introduction outlines my methodological approach and provides an overview of the relationship between the twinned discursive moments. Subsequent chapters focus on representations of returning veterans; representations of the counterculture and the anti-war protest movement; and the subjects foregrounded in the biopics of the period. -
The 50 Greatest Heroes and the 50 Greatest Villains of All Time 400 Nominated Characters
The 50 greatest heroes and the 50 greatest villains of all time 400 Nominated Characters 1 BUDDY ACKERMAN in SWIMMING WITH SHARKS (Trimark, 1994) ACTOR Kevin Spacey DIRECTOR George Huang PRODUCERS Steve Alexander, Joanne Moore SCREENWRITERGeorge Huang COSTUMES Kirsten Everberg MAKE-UP Sarah Gaye Deal HAIR Sarah Gaye Deal 2 SHEIK AHMED in THE SHEIK (Paramount, 1921) ACTOR Rudolph Valentino DIRECTOR George Melford PRODUCER Jesse L. Lasky SCREENWRITERMonte M. Katterjohn ALSO appears in: THE SON OF THE SHEIK (United Artists, 1926) 3 THE ALIEN in ALIEN (20th Century Fox, 1979) ACTOR Bolaji Badejo DIRECTOR Ridley Scott PRODUCERS Gordon Carroll, David Giler, Walter Hill SCREENWRITERDan O’Bannon ALIEN DESIGN H. R. Giger 4 JAMES ALLEN in I AM A FUGITIVE FROM A CHAIN GANG (Warner Bros., 1932) ACTOR Paul Muni DIRECTOR Mervyn LeRoy PRODUCER Hal B. Wallis SCREENWRITERS Howard J. Green, Brown Holmes AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. 5 CRYSTAL ALLEN in THE WOMEN (MGM, 1939) ACTOR Joan Crawford DIRECTOR George Cukor PRODUCER Hunt Stromberg SCREENWRITERS Anita Loos, Jane Murfin COSTUMES Adrian MAKE-UP Sydney Guilaroff 6 GREGORY ANTON in GASLIGHT (MGM, 1944) ACTOR Charles Boyer DIRECTOR George Cukor PRODUCER Arthur Hornblow, Jr. SCREENWRITERS John Van Druten, Walter Reisch, John L. Balderston COSTUMES Irene MAKE-UP Jack Dawn 7 BRUNO ANTONY in STRANGERS ON A TRAIN (Warner Bros., 1951) ACTOR Robert Walker DIRECTOR Alfred Hitchcock PRODUCER Alfred Hitchcock SCREENWRITERRaymond Chandler, Czenzi Ormonde COSTUMES Leah Rhodes MAKE-UP Gordon Bau 8 DAVID ARMSTRONG in WINGS (Paramount, 1927) ACTOR Richard Arlen DIRECTOR William A. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, while others may be fi’om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing ftom left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 EDWARD J. O'BRIEN: BEST SHORT STORIES AND THE PRODUCTION OF AN AMERICAN GENRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jacquelyn S. -
Terraforming
TERRAFORMING Liverpool Science Fiction Texts and Studies, 55 Liverpool Science Fiction Texts and Studies Editor David Seed, University of Liverpool Editorial Board Mark Bould, University of the West of England Veronica Hollinger, Trent University Rob Latham, University of California Roger Luckhurst, Birkbeck College, University of London Patrick Parrinder, University of Reading Andy Sawyer, University of Liverpool Recent titles in the series 30. Mike Ashley Transformations: The Story of the Science-Fiction Magazine from 1950–1970 31. Joanna Russ The Country You Have Never Seen: Essays and Reviews 32. Robert Philmus Visions and Revisions: (Re)constructing Science Fiction 33. Gene Wolfe (edited and introduced by Peter Wright) Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe 34. Mike Ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970–1980 35. Patricia Kerslake Science Fiction and Empire 36. Keith Williams H. G. Wells, Modernity and the Movies 37. Wendy Gay Pearson, Veronica Hollinger and Joan Gordon (eds.) Queer Universes: Sexualities and Science Fiction 38. John Wyndham (eds. David Ketterer and Andy Sawyer) Plan for Chaos 39. Sherryl Vint Animal Alterity: Science Fiction and the Question of the Animal 40. Paul Williams Race, Ethnicity and Nuclear War: Representations of Nuclear Weapons and Post-Apocalyptic Worlds 41. Sara Wasson and Emily Alder, Gothic Science Fiction 1980–2010 42. David Seed (ed.), Future Wars: The Anticipations and the Fears 43. Andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44. Andrew Milner, Locating Science Fiction 45. Joshua Raulerson, Singularities 46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and with an introduction by Peter Swirski) 47.