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Cinematic Orientalism: Bab el Oued City & The Time that Remains
Get PDFThis paper focuses on orientalism as a cinematic paradigm in Islamic imagination. We compare two movies, “Bab el Oued City” (1994) and “The Time That Remains” (2009) that present different cases with regard to orientalism, fundamentalism and gender. We identify basic characters, their agency and roles in the whole setting. Our main argument about the movies, though originating from different contexts and historicity, is that they present somewhat conflicting cases with regard to issues we named above.
Apocalypse at Painting to Cinema: The end of Western Civilization and Hegemony
Get PDFAs we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensified way in the film arts. Finding its inspiration from the social world we live in, film art has been deeply affected by the social class struggles, income inequality, cold war period followed by two major wars, and environmental disasters. By analyzing examples from the history of art and directors from film arts (such as Tarkovsky, Iñárritu, Lars von Trier, and Nuri Bilge Ceylan) who use metaphorical sceneries in dystopian /utopian contents, this article will focus on decoding the signification of the concept of apocalypse throughout the history of humanity
Editorial
Get PDFVolume 6.2 (2017) includes the articles by Hasan Gürkan, Bahar Muratoğlu Pehlivan & Gül Esra Atalay, Andrew Ali Ibbi, Iqbal Shailo, Alon Lazar & Tal Litvak Hirsch, Elloit Cardozo, Floribert Patrick C. Endong, Olugbenga Elegbe, Volkan Yücel & Ziya Toprak, Aslı Daldal, Funda Mardar Kara & Şakir Eşitti
The Black Tent (1956) and Bengazi (1955): The Image of Arabs in Two post-Empire Journeys into the Deserts of Libya
Get PDFThese two little known films are both part of the cycle of post-imperial films dealing with the decline of the British Empire. They are perhaps the only films set in or near the historical period of the British Military Administration of Libya after 1945. The Black Tent frequently gets lumped in with the genre of World War II British war films. Bengazi marks the cinematic journey of the actor Victor McLaglen from The Lost Patrol (1934) to Bengazi (1955), his career encapsulating the beginning and end of the Hollywood British Empire film genre. Both films contain redemptive dramatic journeys into the deserts of Libya involving the loss of British imperial male power. The case studies of The Black Tent and Bengazi show the beginnings of new post-empire film genres and new mentalities toward the Arab “Other” that partially promotes a decolonization of western cinema
From Box Office to Memory: Telling Stories is not an Innocent Act
Get PDFThroughout human history narratives have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus narratives, in a broadest sense, circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap and contested globally within international film industry
Film and Television Genres of the Late Soviet Era
Get PDFAlexander Prokhorov and Elena Prokhorov, Film and Television Genres of the Late Soviet Era. New York: Bloomsbury Academic, 2017. 219pp. ISBN: 978144113428
Comic Venus: Women and Comedy in American Silent Film
Get PDFKristen Anderson Wagner, Comic Venus: Women and Comedy in American Silent Film. Detroit: Wayne State University Press, 2018. 303 pp. ISBN: 978081434102
Editorial
Get PDFVolume 7.1 (2018) includes twelve articles by Murat Akser, Mehmet Işık and Zafer Parlak, Selma Köksal, Ayla Kanbur, Caio Augusto Camargo Bogoni and Renate B. Michel, Naveen Mishra, Janet Barış, Richard Andrew Voeltz, Emilie Herbert, Muhammad Muhsin Ibrahim and Aliyu Yakubu Yusuf, Özlem Denli, and Elif Kahraman Dönmez; and five book reviews by Jeanine Pfahlert, Patrick Adamson, Sarah Lonsdale, James Hodgson, and Maria Korolkova
Queer Theory and Brokeback Mountain
Get PDFMatthey Tinkcom, Queer Theory and Brokeback Mountain. New York, NY: Bloomsbury Publishing USA, 2017. x + 125 pp. ISBN: PB: 978-1-5013-1882-
Political Claustrophobia in Lars von Trier’s Europa and America Trilogies
Get PDFThis essay aims to trace the specific kind of political pessimism, that can be termed ‘political claustrophobia’ underlying the filmography of the Danish director Lars von Trier. Elements of this worldview are traced by analyzing two clusters of films categorized under Europa and America trilogies; namely, The Element of Crime, Epidemic, Europa, Dogville and Manderlay. Trier portrays a particularly bleak picture of the European civilization in the aftermath of the II World War. An equally claustrophobic outlook also characterizes his depiction of the life and relationships in American small towns during the 1930s. In both settings, attempts at reform and change are thwarted by entrenched social reality; leading the audience to the conclusion that there can be no political outside to the existing world