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Cinema studies
No full textPREFACE
Cinema Studies is a comprehensive book that, is hoped, will provide students and researchers with film studies and other persons interested in cinema with a useful reference book on film analysis and, where relevant, the different discussions surrounding that. The contributors analyze some films using ideas and concerns from modernism, cinematographic narrative, ideology, propaganda, migration, nomadism, and the sense of revenge. The book provides new insights into films and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis.
Therefore, each chapter of this book, which consists of 9 chapters, consists of works that subordinate film, the art of imagination, to the holistic comprehension of social theory by transforming the visible and perceptible reality of the social world into a magical atlas of sealed moments. A summary of the chapters included in this timely book is discussed below.
Chapter 1, by Kenan Subasi and Alev Fatos Parsa, examines the technology of VR Cinema and 360 Degree Film, which is the extension of interactive cinema, focusing on the new media’s change, transformation, and opportunities. Authors examine the short film Refugee Crisis in the context of the 360-degree film; the position of the director, the part of the audience, 360-degree framing and orientation, dynamic narrative structure, and transformation from the audience to the user were evaluated in terms of form and content. Authors stress the fact that the VR cinema and 360-degree film technology is in a transitional phase today.
Chapter 2, by Sedat Cereci, evaluates cinema as an illusion-based technique and an approach with fascinating results. The author analyzes the effects of cinematic time on human psychology by focusing on cinematic time, which creates a fascinating impact on cinema. The author stresses the fact that the cinematic time reveals the turning points of the lives of the characters in the film and the connections with the theme of the film. The author also argues that cinema time is, in a sense, the magic stick of the director.
Chapter 3, by Burak Medin analyzes the narratives of animated films, which have become mass cinema by appealing to large masses, within a social, cultural, and ideological context based on the presentation of the heroic subject and its presentation to the audience. For this purpose, it was tried to show how the subject as a hero forms his journey, which discursive structures the hero takes place in, and how the hero is built in the narrative of the animated film. It was analyzed in the light of the assumptions formulated by taking sections from the film Cars, which constitutes the study sample, in the context of Greimas’s theory that he designed based on the subject.
Chapter 4, by Selcuk Ulutas and Murat Aytas, reveals the feelings created in the audience with the sense of revenge that drives the characters (affect) imaged through Chan-Woo Park’s Oldboy film and how they produce a cinematic experience as an aesthetic strategy. Authors determine that the director stylizes the sense of revenge throughout the film through many characters as a deep philosophical problem and as a morally impeccable-looking emotion that drives the narrative of the film.
Chapter 5, by Ahmet Oktan and Tugba Elmaci, explores migration, nomadism, and transgression of borders in the film Mondo. Authors discuss Gatlif’s approach to migration and nomadicity discussed in the example of the film Mondo. In this framework, the film is subjected to a philosophic.al analysis on the axis of concepts such as migration, nomadism, and posthuman subjectivity by authors. Authors stress the fact that Gatlif, especially in the subtext of the narrative, opened the phenomenon of nomadism to the discussion in the context of its philosophical expansions and carried this process beyond the experience of transgression between people and intercultural borders.
Chapter 6, by Huseyin Kose and Zeynep Baki, focuses on why keeping the political and ideological facts related to the state apparatus out of sight by focusing on a motif that has not been dwelled on extensively before but can be considered quite specific for Demirkubuz’s cinema. The authors present some clues to the invisible and uncertain functioning of the state and ideological phenomena in general and its possible causes through the images and metaphors in the movies of Demirkubuz, using the content analysis method. They attribute the main reason for this to the low awareness of the characters about social reality. Therefore, they state that their existential concerns precede the rules that govern the social world.
Chapter 7, by Burak Turten, focuses the documentary films produced from 1896 to the present, which express the date of the arrival of cinema in the Ottoman Empire, in the context of the ideological apparatus of the state. The main purpose of the study is to examine the recent ideological structure of Turkish documentary cinema based on the Akıncı documentary film. The authors stress the fact that Akıncı documentary film is compatible with the policies of the dominant political ideology and contains national and religious elements. The relationship between film and ideology is not only limited to the content of the film, but it has also been determined that the dominant power has a direct effect on the production and broadcasting processes of the film. Akıncı documentary film functions as the ideological apparatus of the state.
Chapter 8, by Asli Yurdigul and Yusuf Yurdigul, generally questions the function of news in the cinematographic narrative. The authors specifically focus on thinking about news from a cinematographic perspective by analysis of the film Contagion. In this study, in which the film analysis model was used, firstly the news scenes in the movie Contagion were determined and then the functions of these scenes in the cinematographic narrative and the features of these functions were questioned. The authors contribute to the limited literature on the subject by examining and evaluating two seemingly somewhat distant fields such as film and news.
Chapter 9, by Ali Karadogan, focuses on modernism between two worlds in the context of the film Time to Love which is a unique example of how it defies the rules of the industrial space within, representation styles, and narrative lengths of Turkish cinema. Author discusses this rejection of Time to Love which opposed the themes, representation style, and narrative strategies of the era by analyzing the film text and evaluating it in opposition to Yeşilçam.
I would like to thank in particular Karabuk University and Northern Arizona University for giving me the opportunity to contribute to the development of the cinema discipline. I especially thank Prof. Dr. Frederick DeMicco, who has created conducive and stimulating scholarly environments.
I am grateful to Dr. Muhittin Cavusoglu who compiled the index, for assistance. I also wish to record his enormous gratitude to Dr. Aysegul Acar who has worked tirelessly on this project, for her generous support, patience, and assistance throughout the process.
In conclusion, I would also like to thank all authors who contributed to the production of this essential and timely book. I believe the chapters included in this book offer useful and important information for researchers, students, and practitioners in the context of cinema
Editor
Burak Turte
Cinema studies: Different perspectives
No full textPREFACE
Cinema Studies: Different Perspectives is essential reading for anyone interested in cinema discipline. The singular aim of this edited book of scholarly text is to stimulate and engage readers in the fast-changing, complex, and increasingly interdisciplinary nature of cinema studies, and to serve as a catalyst for future intellectual, academic, and professional-driven research agendas. It is believed that the integration of cinema studies with other disciplines will undoubtedly contribute to the development of the cinema field both in practice and in theory.
Therefore, each chapter of this book, which consists of 9 chapters, focuses on a sub-discipline such as advertising, new media, journalism, philosophy, technology, politics, and tourism. Each chapter concentrates on specific facets of cinema studies with different sub-disciplines by offering valuable insights for industry professionals, academicians, and students who want to excel in important aspects of cinema in the movie industry. A summary of the chapters included in this timely book is discussed below.
Chapter 1, by Semire Ruken Öztürk and Ali Karadoğan, provides a comprehensive literature analysis of cinema censorship evaluations in Turkey between 1985 and 1987. The films made in this period were analyzed under ten themes. These are sexuality; distorted image; reasons related to security forces; bad language; reasons for the title of the film; political reasons, other states, nations, or Atatürk; the Turkish flag; father, family, traditions, customs; drugs, suicide; and newspapers.
Chapter 2, by Doğa Çöl, explores the possibility of Plato’s diegesis through the moving image. This chapter mainly aims to question the possibility of a purely diegetic film and determines the significance of inquiring about such a work. For this, the author stresses understanding what Plato thinks of poetry in general, especially the difference between diegetic and mimetic poetry. Then the author stresses defining the film and comparing it with Plato’s diegesis and see if they are compatible. Consequently, the author questions whether the naming of a concept or, in this case, an artwork is valuable.
Chapter 3, by Burak Turten, determines audience acceptance of virtual reality (VR) films by analyzing the perceived benefits and risks based on the technology acceptance model (TAM) with thematic analysis. More specifically, it first provides the definition of virtual reality and then discusses its benefits and risks based on TAM for cinema audiences by providing examples from virtual reality in the cinema industry.
Chapter 4, by Gülsüm Çalışır and Armağan Bayrak, focuses on streaming platforms as a new generation of broadcasting. It mainly examines to answer why audiences prefer new generation streaming platforms and how ad-free content affects the popularity of these platforms. The authors stress the fact that these platforms offer more variety than traditional broadcast platforms, including local and global content, and direct the consumption habits of the audiences.
Chapter 5, by Kürşad Gölgeli, concentrates on the evolution of advertising in interactive movies and video games. It mainly examines current and potential changes in the relationship between advertising, movies, and video games. In this context, it evaluates the role of new media, interaction in movies and video games, marketing innovations, and advertising in the digital world.
Chapter 6, by Ersin Diker and Şeyma Kara, explores cinema advertisement and assesses the significance and evaluations of cinema advertisement. More specifically, the chapter examines how movie-going practices of cinema audiences in Turkey and how audience attitudes towards cinema advertisements differ in terms of some socio-demographic variables.
Chapter 7, by Ayşegül Çilingir and Nilay Akgün Akan, finds out the advertisement reflections of animated movies. It mainly aims to explore to what extent the surfaces and contents in the animated films are reflected in the ads within a specified period and to determine how the features that co-exist in the animation film and ad are created with the coding scale used.
Chapter 8, by Ahmet Biçer and Kadir Macit, mainly focuses on how journalism is represented in cinema. More specifically, this chapter analyzes the discourses produced about journalism in the context of criticism-evaluation-themed Journalism in Cinema in the November 2021 issue of Altyazı. In line with its subject and objective, the study briefly covers the literature and discussions on Journalism in Cinema and Cinema Magazines under different headings.
Chapter 9, by Aysegül Acar, examines the topic of film-induced tourism, the benefits, and disadvantages of film-induced tourism for the destination, and film-induced tourism products, together with the future directions of film-induced tourism in the field. The chapter offers suggestions to local governments and the film and tourism industry on how filmmaking can create new attractions for a destination.
I would like to thank Karabük University and Northern Arizona University for giving me the opportunity to contribute to the development of the cinema discipline. I especially thank Dr. Frederick DeMicco, who has created conducive and stimulating scholarly environments.
I am grateful to Dr. Muhittin Cavusoglu who compiled the index, for assistance. I also wish to record his enormous gratitude to Dr. Ayşegül Acar who has worked tirelessly on this project, for her generous support, patience, and assistance throughout the process.
In conclusion, I would also like to thank all authors who contributed to the production of this essential and timely book. I believe the chapters included in this book offer useful and important information for researchers, students, and practitioners in the context of cinema and related disciplines.
Editor
Burak Turte
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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