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The ‘Return to Home’: The Musical Construction of a Common Trope in New Turkish Cinema
Get PDFThis article explores the musical component of a trope common in the films of the New Turkish Cinema. Examining scenes from four films, it outlines the dialectical struggle between the competing foci of identity enacted through the juxtaposition of urban and rural spaces, Eastern and Western socio-cultural signs, and the reclamation of a lost past. Of central importance is the treatment of how the musical scores tends to construct presentations that are paradoxical and often undo the nostalgia of these moments and how this affects the import of these moments in Turkish social life
Strangers No More: the Initial Hitchcock murder
Get PDFoai:ojs.cinej.pitt.edu:article/1This article analyzes the various levels of violence and graphic detail in the initial Hitchcock murder scenes. Through a detailed close reading of these scenes from Blackmail, Strangers on a Train, and Frenzy, I expose the different and increasing levels of intensity at which sadism functions throughout Hitchcock’s career, and I suggest that the audience is stuck at a one-stage sadistic level as opposed to the typical Freudian model
Changing Landscape of Moral Registers and Urban Pathology in ‘Bombay’ Cinema: Decline of Biological Family and Birth of the Individual through Awara (1951), Deewar (1951), (1975) and Satya (1998)
Get PDFThis article attempts to map out the changing image of biological family as the central axis of collective moral imagination in Bombay Cinema. Tracing the journey of the nation through three iconic films that were massively successful and helped the nation construct its self-projection, Awara (1951), Deewar (1975), and Satya (1998), mark the birth of an individual who disengages from the epic imagination of Ramayana and Mahabharata and arrives in the dark modern metropolis of post-liberalization India, not as a star figure but in a forever exile confronting, heroically indeed, a pathological condition of his exiled larger collective
The IMAGES Project (www.images-1.over-blog.org) and the IMAGES Project 2011 Publication IMAGES - Films as Spaces of Cultural Encounter
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Cinema on Cinema: The Kinship between Cinema Paradiso and Zıkkımın Kökü, Karpuz Kabuğundan Gemiler Yapmak, Sinema Bir Mucizedir
Get PDFThis study consists of a comparative analysis of four films which fall under the category of “cinema on cinema”. These films are Cinema Paradiso (Giuseppe Tornatore, 1988, Italy), Zıkkımın Kökü (Memduh Ün, 1993, Turkey), Karpuz Kabuğundan Gemiler Yapmak/ Boats out of Watermelon Rinds ( Ahmet Uluçay, 2004, Turkey), Sinema Bir Mucizedir/ Cinema is a Miracle (Memduh Ün- Tunç Başaran, 2005, Turkey). It will be argued that these films have four main points of similarity. First, they are the instances of “cinema on cinema”; second, they are biographical films; third, their plots are constructed upon the rural lives of the past; fourth, they are about cinephilia
Sedimentations: Some Thoughts on Schoenberg’s Musical Accompaniment to a Cinematographic Scene
Get PDFThis article examines Arnold Schoenberg’s Begleitmusik zu einer Lichtspielszene of 1930. This, essentially, is a soundtrack in search of a film (no film was actually created with it in mind), and clearly speaks of Schoenberg’s bleak premonitions of the coming decade with its cue titles of ‘threatening fear’ – ‘danger’ – and ‘catastrophe’. The article further explores Schoenberg’s music in relation to the musical/ cinematic practices of his day. This leads to a discussion of Jean-Marie Straub and Danielle Huillet’s utilization of the score from 1973 which uses film as a self-reflexive device to explore the personal, cultural and the political. Having received permission to create a new film for this piece (currently in planning) the author of this article hopes to explore how the cities of Vienna and Berlin might form a visual hinge through which to view the tumultuous exile of the composer from Vienna to Berlin and on to the USA after the rise of National Socialism in 1933. Like Straub and Huillet the author aims to use, and discuss, the potential of film to map the historical onto the present
A Quantitative Approach to Variables Affecting Production of Short Films in Turkey
Get PDFThis study aims to explore the influence of various variables affecting the production of migration themed short films in Turkey. We proceeded to our analysis using descriptive statistics to describe the main futures of the sample data quantitatively. Due to non-uniformity of the data available, we were unable to use inductive statistics. Our basic sample statistical results indicated that short film producers prefered to produce short films on domestic migration theme rather than international. Gender and university seemed on surface as significant determinants to the production of migration themed short films in Turkey. We also looked at the demografic variables to provide more insights into our quantitative approach
UFA Orientalism. The “Orient” in Early German Film: Lubitsch and May
Get PDFFantastic images of the exotic pervade many early German films which resort to constructions of “Oriental” scenes. Stereotypical representations of China, India, Babylon, and Egypt dominate the Kino-screens of Weimar Germany. These films were produced in the UFA studios outside Berlin by directors such as Ernst Lubitsch (Sumurum/ One Arabian Night, 1920; Das Weib des Pharaos/The Love of Pharaoas 1922) and John May (Das Indische Grabmal/ The Indian Tomb, 1921). Yet, where recent observers resist the use of a postcolonial perspective it becomes difficult to assess the cinematographic exoticism of post-WWI Germany.This essay, therefore, offers both a discussion of Edward Said’s ‘Orientalism’and a psychoanalytical thesis on the concealment and supposed healing of post-1918 Germany’s national narcissistic wounds by emphasizing Eurocentric difference in its filmic representations of the Orient
Reinvigorating Film Studies: An Immodest Proposal
Get PDFCINEJ Cinema Journal is a newcomer to the field of film studies. It is committed to publishing fresh and original research in the fields of film and media studies. The need for such a journal is result of emergence of fresh perspectives in film studies and the absence of an outlet to incorporate such ideals