CINEJ Cinema Journal
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Representation of Teachers in Turkish Cinema Between 1940 and 1980
Get PDFThe film of the destruction of the Russian monument in 1914 is not only the history of Turkish cinema, but also of a country. The aim of this study is to reveal the representation of teachers in Turkish cinema, which is one of the professions that shape a nation, in films that reflect the effects of the periods spent in all its positive and negative aspects. The reflections of the political and social changes experienced in the historical process on the cinema, the emphasis in the representation of the teacher and the quality of the added value created in the society were analyzed in comparison with the periodical conjuncture. With the purposeful sampling management, the films in which the teacher was represented from 1940 to 1980 were compared with the conditions of the period in which they were shot, and their reflections on the society and the teacher were examined
The Embodiment of the Post-human Child in Malayalam Films
Get PDFThe adult-child binary positions the child in a developmental process toward rationality attained through becoming an adult. The child is not considered a ‘whole human’ or given the status of an ‘individual’ in a social context, as seen in the representations of child and childhood in Malayalam films. This study aims to analyze the post-human identity of children in films focusing on how social and cultural systems are portrayed in the selected films titled Manjadikuru (2008), Keshu (2009), and Philips and the Monkey Pen (2013). The article intends to problematize the inequalities, biases, and lack of agency experienced by the post-human child and argues against awarding humanist identity to the child and childhood(s)
Demystifying the state of Minorities in Contemporary India: Reading Amit Masurkar\u27s Sherni (The Tigress) from the Vantage Point of Marginality
Get PDFBharatiya Janata Party, the ruling party of an emergent Indian nation-state, has, from its genesis ventriloquized and brandished its exacerbating agenda of Hindu Fundamentalism in a flawed myth of an anecdotal Hindu Nationalist past where non-Hindus are conveniently ostracized. This political gambit is deployed to manufacture an overblown theory of a decline in Hindu culture, the best resonance of which is the Citizenship (Amendment) Act of 2019, discriminating, and interrogating the legitimacy of specific communities on sheer grounds of religion. Amit Masurkar\u27s film of 2021, Sherni (The Tigress) provides a critical insight into this brutal Racial Politics pervading an upper caste Hindu society, in the guise of a subtle sub-text, camouflaged within a distracting narrative of Man versus Nature. This paper facilitates the reading of this hidden discourse of Realpolitik alongside the predominant cultural narrative of gender and natural domination. Through a palimpsestuous reading, it explores themes of racial exclusion and segregation in an Ultra-Right Hindu Nation that the film silently addresses. Furthermore, this paper challenges the dominant narrative of Ecofeminism, to instead investigate the categories of race and ethnicity that intersect gender issues
A Narrative of An Ideological Destruction: Where Do We Go Now?
Get PDFLebanese 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\u27s 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\u27s conceptualization of ideology and Subject-subject formation
Framing the Subaltern: Humanitarian Violence in Liz Mermin’s documentary The Beauty Academy of Kabul
Get PDFThis paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for
Güneş Ne Zaman Doğacak?: A different approach from the perspective of Turkish cinematic art
Get PDFDiscussing 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 \u27national cinema.\u27 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.
Review of An Orthodox Monk Watching Films
Get PDFThe text reviews the book of Daniel Cornea: Cinema: A Reading inside the Church. For an Orthodox Theology of Culture (Romanian: Cinema-ul, o lectură îmbisericită. Pentru o teologie ortodoxă a culturii), Christiana Publishing House, 2017
The Relation of Female Characters to Nature in the Turkish Series Wounded Love (2016–2018): Ecofeminist Approaches
Get PDFThis study analyzes the female characters and their relationship to nature in the Turkish series, entitled “You are my country” (“Vatanım Sensin” originally in Turkish) or “Wounded Love” (2016-2018) from an ecofeminist point of view. The Turkish and Greek mothers, daughters, and sisters try to unify their families after each attack in the series. Thus, their efforts will be analyzed within the framework of “Ecofeminism” as Turkey is a land linguistically feminized in Latin as “Turquia” with a female gender ending -a. The ecological metaphorical spaces associated with the images of Turkish and Greek women trying to preserve the family continuity during the liberation war of Turkey will be analyzed; such ecological spaces include the Aegean Sea, forests, and roads of Izmir, Ankara, and Salonica. Moreover, ecological metaphorical objects include flowers, trees, and animals. Illnesses, famines, plunders, and forced migrations are the main reasons for the losses of some family members; this study examines how these lost members get united through the metaphorical uses of the environmental spaces important for women, who try to keep the new Turkey free through their efforts in the 1920s within the framework of ecofeminism, a term coined by Françoise d’Eaubonne in 1974
Victims and Survivors in the Rape-Revenge Narrative: A Comparison of Black Christmas (2019) and I May Destroy You (2020)
Get PDFThe rape-revenge narrative is fertile ground to explore and contextualize the experience of sexual violence and its aftermath. While typically a trope in genre films seen through the male gaze, female filmmakers are reclaiming this narrative. Two recent entries from female filmmakers into the canon of the rape-revenge fantasy are the 2019 horror remake Black Christmas, and the 2020 HBO drama-comedy series I May Destroy You. This article will compare the ways that these two examples construct characters who experience rape, and how their personality traits and behaviors are infused with the cultural perceptions of "rape victims" or "rape survivors." This analysis will be grounded in ongoing feminist discourse around the use of the term applied to those who experience rape, and how this impacts our understanding of these characters
The Ambivalent Object(s) of America in Wim Wenders
Get PDFThis article will consider Wim Wenders’ relationship to America in several of his films during the New German Cinema Movement of the 1970s and 1980s. In particular, it will explore the place America occupies as a fantasy object, framing this through the distinct roles individual objects play in Wenders’ films. Firstly, in the initial period of his life, various accounts point to the fact that the director related to American culture as a substitute for his own country’s fascistic past. Such a viewpoint is then countered in his film Alice in the Cities (1972), where the protagonist is initially puzzled by the enigma of America, but finds he can comprehend it upon hearing of the Hollywood director John Ford’s passing from a newspaper. In The State of Things (1982), apropos Wenders’ experience working in Hollywood under Francis Ford Coppola, the relationship to objects again changes, this time from the subject’s mastery over objects, to the mastery of the object over the subject. However, an alternative position emerges through a more careful reading of the film Hammett (1982), which, exists as a short-circuit in the typical narrative of Wenders’ cinematic trajectory. Rather than emphasizing the mastery of the subject or the object, through the use of narrative, the film Hammett reveals an alternative position by implicating the two in a dialectic. Such a position takes on a refined inflection in Paris, Texas (1982), in which the subject implicates themselves in their own fantasy, repeating the radical gesture from Hammett (1982) and forging a new relationship between subject and object