CINEJ Cinema Journal
Not a member yet
358 research outputs found
Sort by
Zeki Demirkubuz as a Creator of Meaning: A Critique of the Film Hayat
Full text linkThis article examines Turkish director Zeki Demirkubuz’s Hayat (2023) and the influence of Fyodor Dostoevsky and Albert Camus on the film’s narrative and characters. The central research question concerns how the intellectual worlds of these two writers shaped the construction of Hayat’s story and protagonists. Demirkubuz’s primary aim in Hayat is to portray, in practical terms, the typical features of characters living through an existential crisis and to indicate the possible paths toward its resolution. Both Dostoevsky and Camus devote significant attention to the basic and shared manifestations of existential crisis, but they differ on the question of overcoming this crisis. In Hayat, Demirkubuz thematizes the Dostoevskian resolution while also incorporating Camus’s conception of the absurd character. Viewed in this light, the director constructs a unique world of meaning; accordingly, he can be evaluated as an auteur in the sense of a meaning creator. This is the article’s working hypothesis. To substantiate this claim, the article first outlines the intellectual frameworks of Dostoevsky and Camus and then subsequently analyzes Hayat’s narrative and characters in relation to them
Reading the Representations of Children and Childhood(s) in Malayalam Films
Full text linkThis article examines the representation of childhood(s) and child characters in Malayalam cinema. Child characters have been constantly used since the beginning of Malayalam cinema to fit into the specific normative roles that are largely inconsequential to the plot. Juxtaposing the evolution of the Malayalam film industry with representations of child roles and child-based films through the decades, this article explores the hegemonic adult gaze that conceptualizes such functions to childhood. The dominant adult gaze structures the film to be a medium for adult consumption, where the child’s body becomes a device, and its ‘intellect’ is largely discredited in films. This indicates the social indifference towards ‘children and childhood(s)’, which equates the child as a belonging/property of the parent (adult) and rejects the child’s ability as a creative individual with an ability to think and perform. The paper argues for a space to explore complex child characters in Malayalam films, but in doing so, it does not support the ‘Child’s’ conception as an ‘Adult’. It urges the need for better understanding from the creators of films, who must be creative, rational, and inclusive in fashioning their child characters
Infrahumanization and Dehumanization of Women in Turkish Comedy Films as an Element of Comedy
Full text linkThis article\u27s goal is to use the ideas of infrahumanization and dehumanization to describe how women are portrayed in Turkish comedies. Dehumanization is the process of describing a person with animalistic or robotic traits. Like dehumanization, infrahumanization is the belief that one\u27s own group has more complex emotions than others, while members of the other group merely have animal-like innate feelings. Turkish women were portrayed as less human in this context, and this study explores whether this impression exists. The narrative analysis method was used to study popular comedy films shot between 1970 and 1979 to arrive at the answer to the query. Twenty Turkish comedy films were analyzed, and it was shown that both dehumanization and infrahumanization occurred
An Investigation of the Relationship Between Violence and Emotion Perception: Evidence from Turkish Cinema
Full text linkViolence has been a significant phenomenon throughout human history and has been studied across various disciplines. With the rise of interdisciplinary approaches, it has become a central issue in many fields. Adapting a psycholinguistic perspective, this study examines how films with violent content influence people’s perception of emotions. It was hypothesized that the violent content in film the participants saw would alter their perception of the emotional content of the words they were shown. To this end, they performed a rating task on a list of positive, negative, and neutral words before and after watching a violent film. A comparison of pre- and post-ratings revealed that valence ratings decreased for all word types after watching the film, while arousal ratings remained unchanged. These findings suggest that exposure to violent content can influence how emotional words are perceived. The results provide valuable insights into the impact of violence on emotional processing
Deconstruction of Chinese Masculinity, Adaptation of Hong Kong Gangster Films, and Political Criticism in Television Series The Knockout
Full text linkThis study examines how the popular Chinese television series The Knockout crystallises political significance by mobilising intertextuality and deconstruction of masculinity. It argues that, The Knockout adapts the narratives and aesthetics of space, building, and natural scene in the Hong Kong gangster films to depict the crisis and precariousness of masculinity and thereby convey the criticism of China’s modernity and state authority. This research contributes to the under-researched field of alternative masculinities on Chinese screen and sheds light on how the Chinese television series struggles to negotiate the strict censorship. Also, it foregrounds the intertextual impact of Hong Kong genre cinema on contemporary Chinese television and the inter-regional adaptation on East-Asian screen
Review of Architecture in Cinema
Full text linkThis paper reviews the book Architecture in Cinema, which explores the multilayered relationship between architecture and cinema from both generic and historical perspectives, offering a critical framework for rethinking the role of architecture within cinematic narratives
The Relationship Between the Behavior Change Created in the Audience By Disaster Scenarios in Cinema Cities During the Covid-19 Period and the Pandemic
Full text linkAfter the Covid-19 all industries around the world have tried to adapt to pandemic conditions by renewing their production models. the cinema industry as well. Such films, produced before the pandemic, have come to the agenda again by reaching viewership rates that did not even exist in the years they were produced. This research, semi-structured interviews with experts in psychology and cinema were conducted and the data obtained through secondary source scanning were analyzed. The aim is to understand the differences between the mood changes created by urban perspectives in apocalyptic and post-apocalyptic films before and after the pandemic and to reveal concrete information about the relationship that is a factor in the pandemic process
Triangle of Sadness: Of Vulnerability and Michel Foucault\u27s Subject-Power Concept
Full text linkFoucault (1977a) analyzed the concept of power from a different perspective and defined power not only as a power relationship between people and states, but as a set of strategies that is omnipresent and comes to society from multiple domains. In the phenomenon of power constructed through discourses, each individual in interrelation continues their practices while getting influenced by the process. The concept of vulnerability refers to the inner impulse that guides the actions of individuals driven by the instinct for survival, as well as the sense of vulnerability that this impulse imposes on them. Dependence on others brings a sense of vulnerability also. In this study, which is based on Foucault\u27s concepts of subject and power, the concept of vulnerability is studied in the context of Ruben Östlund’s award-winning film Triangle of Sadness, focusing on themes of power, the transformation of authority, interpersonal relations in everyday life and vulnerability. As a result of the analysis, it was concluded that gender roles and social statuses are indicators of power, individuals may experience a sense of vulnerability due to various weaknesses, the relationships between power and authority are always in a state of transformation, societal gender roles can change when the dynamics of power shift and that discourses are influential in the formation of the subject. In the analysis of the film Triangle of Sadness, critical discourse analysis, one of the qualitative research approaches, has been employed. The concept of vulnerability and Foucault’s notion of power were discussed prior to the film review
Between the Law and Desire: The Split Subject in Asghar Farhadi’s A Hero
Full text linkThis paper explores Asghar Farhadi’s film A Hero from a psychoanalytic standpoint. Using a Lacanian framework, I will argue that Farhadi depicts what Lacan defines as a split subject who is under the control of the Other. The Other particularly manifests through various forms of media that define and limit the subject’s desire. The film highlights how the protagonist as the divided subject of desire moves from compliance to resistance in pursuing his desire. Such a radical movement, I will argue, takes place when the protagonist of the film reconsiders his relationship with the world around him. In his defiance of the logic of the Other and his realization that desire would not lead to an ultimate object of satisfaction, the protagonist learns how to be free even though he does not gain physical freedom
Use of ASMR Technique in Movies
Full text linkThe cinema sector has benefited from many innovations, especially in recent years, in terms of technology. The use of some new technology cameras and other equipment has increased in cinema films. In addition, it is known that there are new attempts not only in terms of technology but also in terms of some approaches and techniques. The ASMR technique, which is the subject of this study, has started to be used in cinema films, although it is not widespread. The most used medium outside of cinema films is YouTube videos. The main purpose of videos created on YouTube is to relax people. Another area where the ASMR technique is used after YouTube videos is advertisements. It is known that some brands in our country shoot commercials using the ASMR technique. ASMR is a phenomenon defined as autonomous sensory meridian response. Those who experience the ASMR sensation experience tingling and goosebumps around the head for a short time. This article aims to be a guide for the cinema sector by investigating the effects of the use of ASMR techniques in cinema films on the emotional states of the audience. In this study, a short video shot using ASMR techniques (squeaking, rustling, detailed sound, cutting sound, water sound, cat purring, etc.) was shown to 10 (5 female and 5 male) Communication Faculty students. The participants\u27 opinions on the use of ASMR technique in movies were obtained using an in-depth interview technique. It was observed that the majority of the participants had a positive view on the use of ASMR technique in movies in a proper and appropriate manner