Radyo, Televizyon ve Sinema Bölümü / Department of Radio, Cinema and Television

Permanent URI for this collectionhttps://hdl.handle.net/11413/6824

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Open Access
Dijitalleşme Ve Türk Sineması
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Ormanlı, Okan; TR108048
Until the 1990’s Turkish cinema was considered as a less developed and insufficient cinema in terms of technology. With the rise of private TV channels, the advances in the advertising industry and with the sponsorships and funds of local and foreign foundations, Turkish cinema was able to use the latest technology in the field of cinema. In this context the technical equipments which were used in western cinema were put in to use in the Turkish cinema and with this oppurtunity, even special effects were applied in some big budget movies. Changes in the classical production style led to changes in distribution and viewership trends. This change caused a discussion about how to deal with the old and how to adapt to the new. Now, there is an environment in the cinema industry where analogue technology has nearly completely been replaced by digital technology. Some filmmakers suggest that digital tehnology has led to the democratisation of the Turkish cinema, whereas some cinema critics believe that due to the cheapness of this technology has led to an increase in interest in the film industry and made people believe that anyone could be a filmmaker. The aim of this study is to evaluate the effects of digitalisation in Turkish cinema in terms of production, distribution and spectatorship.
Open Access
Küreselleşme Ve Yerellik Bağlamında Günümüz Türk Sineması
(The Turkish Online Journal of Design, Art and Communication, 2013-04) Ormanlı, Okan; TR108048
The Art of Cinema, which has a past of more than a century long, is frequently discussed in terms of globalization and localization. Cinema started in Europe (France) but became a worldwide phenomenon due to the US (Hollywood). And today Hollywood, which generally represents the American cinema industry and commercial cinema, is the leader in terms of spectator and profits with billions of dollars. It constantly tries to enter every corner of the world to show / sell American movies after the rise of the globalization and sometimes makes concessions in terms of national values. Turkish cinema which is on the way to create a renaissance after the fall of Yeşilçam in terms increasing number of films and spectators by beating Hollywood’s big productions has the most percentage with its local admissions in Europe. Turkish cinema is successful at home and receives international awards almost every year but not as widespread comparing with other successful European cinemas. In this study, the reasons for the failure of Turkish, which has remained local yet also aims at taking on a more global nature, will be analyzed.
Open Access
Pelikülden Dijitale Sinemada Seyir Kültürü Ve Seyircinin Değişen Konumu
(The Turkish Online Journal of Design, Art and Communication, 2012-04) Öz - Taş, Perihan; TR111982
In parallel with technological advances, the rapidly changing nature of the motion picture where each new mode of production brings with it a new kind of viewership. Each new kind of viewership leads to the re-definition of the cinema audience. Before digital technology was developed and took over, the relationship between the audience and film was passive; with the passage to digital technology, however, this situation changed, and the audience took on a more active role, becoming “subject”. In the development of digital technology, television, video, 3-D cinema and “interactive cinema” the position of the audience gradually shifted, thus the need for new definitions. Audiences today are no longer “just anyone in the crowd” – which was the case during the film era. Now, they hold a much more active role; they have become an “interactive cinema audience”. However, it is important to reflect on the changed viewership and see how an active audience positiong hasd influence the experience of watching a film. The aim of this study is to look at the changing production structure of cinema and see how digitalization has influenced viewership.
Open Access
Sinema Ve Televizyonda Görsel Haz Ve Sinemasal Çözümlemeler
(The Turkish Online Journal of Design, Art and Communication, 2013-07) Atasoy, Ayşe Duygu
In this paper, tragic pleasure is handled from the perspective of independent cinema compare to popular media perspective. In this context the works of directors who can be named as Antagonist directors such as Nuri Bilge Ceylan, Zeki Demirkubuz, Lars von Terier, Park Chan-Wook are the main subjects.
Open Access
Sinemada Edebiyat Uyarlamaları Ve Göstergeler: Muhteşem Gatsby (2013) Filmi Örneği
(The Turkish Online Journal of Design, Art and Communication, 2014-04) Ormanlı, Okan; TR108048
The cinema and literature are two different branches of the arts that have on occasion collaborated with one another over the past 120 years. The Hollywood film industry, along with many other national cinemas have taken best sellers or important literary sources and turned them into films. Although some novels are fictional, they nonetheless are able to give information regarding the socio-economic and cultural setting in which they take place. The Great Gatsby written by F. Scott Fitzgerald is set in 1920s America and was published in 1925. The novel, which has today become a classic in literature, holds parallels between the life of the main character Jay Gatsby and the life of the writer of the novel, Fitzgerald. The novel was first adapted to the cinema in 1970’s. The second version of the novel was filmed in 2013 and was directed by Baz Luhrmann. Although the film, which will be the subject of this study, stays true to the storyline of the novel, it has visual and auditory elements that signal differences. By taking full advantage of today’s technology, the film is able to successfully reflect the period’s flamboyance and craziness. The film highlights the dance and music of the time, but still makes room for some of today’s songs. Furthermore, the costumes and hair styles also reflect the times in which the events unfold. The green light emphasized in the novel holds its place in the film in the signifiers of the Valley of Ashes and Dr. T.J. Eckleburg’s advertisements boards, and comes to mean dreams, the inability to come together, class difference and society of surveillance. The Great Gatsby is a film that stays true to the original novel; however, even so, it bears a new, updated, postmodern approach that has a stylized and spectacular style in terms of form and content.

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