Papers by Ekin Gündüz Özdemirci
Environmental issues started to find place in Turkish films from 1950’s, but in the period after ... more Environmental issues started to find place in Turkish films from 1950’s, but in the period after 1990’s, there was a rise in the films that embody an ‘intuitive approach’ to nature, mostly in the narratives that are not necessarily focusing on environmental themes. This chapter examines the shifting ecological understandings in Turkish film history and focus on realist art house films of this ongoing period of New Turkish Cinema. These films follow stories evolving around issues of non-belonging and identity as they portray an external nature in rural contexts, mainly from an outsider perspective of urbanite directors and characters. It is claimed that they build up a cinematographic eco-awareness, while at the same time create a binary between nature and society, opposite to the ecological discourse that calls for a relational approach. Taking examples from the films of internationally acclaimed directors such as Reha Erdem, Nuri Bilge Ceylan and Semih Kaplanoğlu, the idea of natur...
Istanbul Commerce University Journal of Social Sciences, 2013
Bu çalışmada, Kuzey ülkeleri içinde en izole konumda bulunan ada ülkesi İzlanda'dan Dagur Kari'ni... more Bu çalışmada, Kuzey ülkeleri içinde en izole konumda bulunan ada ülkesi İzlanda'dan Dagur Kari'nin iki filmi ele alınacaktır. Küçük bir ada ülkesine göre oldukça gelişmiş ve aktif bir sinema endüstrisine sahip olan İzlanda'nın toplumsal yapısı, ülke tarihinde önemli bir yere sahip olan sagalar ve toplumsal yaşamda etkin olan ruhani inanışlar bağlamında incelenecektir. Kari'nin filmlerindeki karakterler ve mekân kullanımı, toplumsal yapının bu özellikleriyle varoluşçuluk felsefesi arasında kurulan paralellikler çerçevesinde analiz edilecektir. Bu çalışmanın amacı, İskandinav sinemasının genel özelliklerini incelenen filmler üzerinden yeniden tanımlayarak, toplumsal yapının sinema estetiği ve anlatım biçimine etkilerini İzlanda örneğiyle bir kez daha ortaya koymaktır.
Anahtar Kelimeler : Nostalji Sineması, Sinema ve Tarih, 68 Kuşağı, Ortak Bellek ORTAK BELLEK VE S... more Anahtar Kelimeler : Nostalji Sineması, Sinema ve Tarih, 68 Kuşağı, Ortak Bellek ORTAK BELLEK VE SİNEMA: 1990 SONRASI FRANSIZ VE AMERİKAN SİNEMASINDA 68 KUŞAĞI NOSTALJİSİ Bu çalışmada, 1990 sonrasında Amerikan ve Fransız sinemasında 68 kuşağının sunumu incelenmiştir. Bellek ve hatırlama ilişkisinden yola çıkılarak ortak hatırlama biçimleri tanımlanmış ve sinema, tarihi bir döneme dair ortak bellek yaratımında etkin bir kültürel araç olarak ele alınmıştır. Ortak belleğin sosyal koşullara bağlı olarak şekillendiği görülmüştür. Post-ideolojik dönem olarak da adlandırılan 1990 sonrasında yaşanan sosyo-politik değişimlerin etkisiyle, ortak bellekte nostaljik bir 68 kuşağı imgesi yaratıldığı, sinemanın da bu imgenin oluşumuna katkıda bulunduğu örnek filmlerin analiziyle tespit edilmiştir. Filmler biçimsel ve dramatik olarak, sinema tarih araştırmaları kapsamında ele alınan ‘nostalji sineması’ çalışmaları doğrultusunda incelenmiş, sinemada da ortak belleğe paralel bir 68 kuşağı imgesinin ya...
Ecomedia, 2015
Book Summary: Ecomedia: Key Issues is a comprehensive textbook introducing the burgeoning field o... more Book Summary: Ecomedia: Key Issues is a comprehensive textbook introducing the burgeoning field of ecomedia studies to provide an overview of the interface between environmental issues and the media globally. Linking the world of media production, distribution, and consumption to environmental understandings, the book addresses ecological meanings encoded in media texts, the environmental impacts of media production, and the relationships between media and cultural perceptions of the environment.
Humanities, 2016
Environmental themes and representations on screen are examined as a part of environmental social... more Environmental themes and representations on screen are examined as a part of environmental social studies and can be considered a way of creating awareness of environmental issues. However, how often do we consider the environmental impact of a film or television shoot as an industrial process? In this article, I examine the sustainability practices in the motion picture industry and challenges to that by focusing on the British film and television industry as a case study. Using the interviews with industry representatives and some case studies, I discuss the possibilities of creating a change in behavior in the film industry, not only in terms of embedding green measures but also reconstituting industrial mechanisms on behalf of environmental sustainability.
Kadin bedeninin Ronesans resim sanatindan gunumuz sinema sanatina kadar uzanan bir surecte arzu n... more Kadin bedeninin Ronesans resim sanatindan gunumuz sinema sanatina kadar uzanan bir surecte arzu nesnesi olarak konumlandirilisi, sanat tarihinde eril bakisin hâkimiyetini acikca ortaya koymaktadir. Antik Yunan’dan, Ortacag’a, Ronesans’tan icinde bulundugumuz kapitalizm cagina kadar her donemde kadin bedeni eril iktidarin arzulari dogrultusunda ele alinmis, sekillendirilmistir. Gunumuzde kapitalizmin ekonomik dongusu acisindan hayati oneme sahip olan kadin bedeninin, arzu nesnesi olmanin otesinde tuketim nesnesine donusmesi de ayri bir sorunsaldir. Bu calismada, 2006 yilinda Oscar adayi olan ve uluslararasi bircok festivalde birincilik odulu alan “Cashback” adli kisa film uzerinden, kadin bedeninin nesnelestirilmesi, belirtilen tarihsel surecler goz onunde bulundurularak ele alinacak ve tartisilacaktir.
Transforming Socio-Natures in Turkey, 2019
Pre-print of article In Ecomedia: Key Issues (Routledge Earthscan, 2015). Keywords: Turkish cinem... more Pre-print of article In Ecomedia: Key Issues (Routledge Earthscan, 2015). Keywords: Turkish cinema, ecocinema, nostalgia, affect
iticu.edu.tr
... için bu işi devam ettirmemeye karar vermekte fakat sigara karşıtlarıyla son kez yüz yüze geld... more ... için bu işi devam ettirmemeye karar vermekte fakat sigara karşıtlarıyla son kez yüz yüze geldiği bir tartışma içinde yine bilindik yöntemini uygulayarak mesleki açıdan kendisini temize çıkarmayı da ihmal etmemektedir. Bu anlamda filmin sonunda yönetmen, oyun alanının baki ...
Ecomedia: Key Issues, 2016
This chapter focus on the ecocritical analysis of 2001 Turkish film Şellale, an example of New Tu... more This chapter focus on the ecocritical analysis of 2001 Turkish film Şellale, an example of New Turkish Cinema. The chapter begins with an overview of ecocinema studies, then explore the idea of nostalgia as a complex emotion that speaks to ecological sensibilities. By considering Şellale with an understanding of eco-nostalgia it discuss Turkey's national and transnational environmental discourse.
Environmental themes and representations on screen are examined as a part of environmental social... more Environmental themes and representations on screen are examined as a part of environmental social studies and can be considered a way of creating awareness of environmental issues. However, how often do we consider the environmental impact of a film or television shoot as an industrial process? In this article, I examine the sustainability practices in the motion picture industry and challenges to that by focusing on the British film and television industry as a case study. Using the interviews with industry representatives and some case studies, I discuss the possibilities of creating a change in behavior in the film industry, not only in terms of embedding green measures but also reconstituting industrial mechanisms on behalf of environmental sustainability.
Piracy: Leakages from Modernity, Jul 2014
This chapter consists of five sections beginning with the major Hollywood film studios response t... more This chapter consists of five sections beginning with the major Hollywood film studios response towards file sharing. I then move on to discuss the legal case against The Pirate Bay and the discourse of BitTorrent support articulated in the documentaries Steal This Film I & II. In the section that follows, I reflect on the issue of file sharing as the final stage of what Walter Benjamin (1936/2008) in the 1930s described as the ‘Age of Mechanical Reproduction’. Benjamin described the relationship between the rise of art’s social function that emerged in parallel with its ‘massification’, and the fall of an artwork’s ‘special atmosphere’, or ‘aura’, as a result of mechanical reproduction. Today, copyright constitutes a legal mechanism meant to maintain an artwork’s aura, while Internet and the torrent systems are the technological devices providing the opportunities for its reproduction and massification. In the final section, I review the way the torrent system is positioned against the copyright industry and consider whether it could be effective in creating an alternative copyright regime.
ÖZET Bu çalışmada, Kuzey ülkeleri içinde en izole konumda bulunan ada ülkesi İzlanda'dan Dagur Ka... more ÖZET Bu çalışmada, Kuzey ülkeleri içinde en izole konumda bulunan ada ülkesi İzlanda'dan Dagur Kari'nin iki filmi ele alınacaktır. Küçük bir ada ülkesine göre oldukça gelişmiş ve aktif bir sinema endüstrisine sahip olan İzlanda'nın toplumsal yapısı, ülke tarihinde önemli bir yere sahip olan sagalar ve toplumsal yaşamda etkin olan ruhani inanışlar bağlamında incelenecektir. Kari'nin filmlerindeki karakterler ve mekân kullanımı, toplumsal yapının bu özellikleriyle varoluşçuluk felsefesi arasında kurulan paralellikler çerçevesinde analiz edilecektir. Bu çalışmanın amacı, İskandinav sinemasının genel özelliklerini incelenen filmler üzerinden yeniden tanımlayarak, toplumsal yapının sinema estetiği ve anlatım biçimine etkilerini İzlanda örneğiyle bir kez daha ortaya koymaktır. ABSTRACT In this work, we'll examine two films of Dagur Kari, who is from the most isolated country between Nordic countries, an island country called Iceland. We'll examine the social structure of Iceland that has a very alive and developed film industry, via sagas which have an important place in country's history and via spiritual beliefs which have influences on social life. Regarding the parallelism between this social structure and existentialism, we'll analyze the characters and the use of space in Kari's films. This work aims to redefine general characteristics of Scandinavian cinema through films analyzed and exhibit once again the influence of social structure on cinematographic aesthetic and expression by looking at the Iceland example.
Özet Kadın bedeninin Rönesans resim sanatından günümüz sinema sanatına kadar uzanan bir süreçte a... more Özet Kadın bedeninin Rönesans resim sanatından günümüz sinema sanatına kadar uzanan bir süreçte arzu nesnesi ola-rak konumlandırılışı, sanat tarihinde eril bakışın hâkimiyetini açıkça ortaya koymaktadır. Antik Yunan'dan, Ortaçağ'a, Rönesans'tan içinde bulunduğumuz kapitalizm çağına kadar her dönemde kadın bedeni eril iktidarın arzuları doğrultusunda ele alınmış, şekillendirilmiştir. Günümüzde kapitalizmin ekonomik döngüsü açısından hayati öneme sahip olan kadın bedeninin, arzu nesnesi olmanın ötesinde tüketim nesnesine dönüşmesi de ayrı bir sorunsaldır. Bu çalışmada, 2006 yılında Oscar adayı olan ve uluslararası birçok festivalde birincilik ödülü alan " Cashback " adlı kısa film üzerinden, kadın bedeninin nesneleştirilmesi, belirtilen tarihsel süreçler göz önünde bulundurularak ele alınacak ve tartışılacaktır. Anahtar Kelimeler: Beden, Eril bakış, Pornografi, Kapitalizm " Cashback " Movie and The Objectification of Woman's Body. Summary The positioning of female body as object of desire since Renaissance painting art until today's cinema, clearly exhibits the domination of masculinity as " point of view " in art history. Female body has been handled and formalized by masculine power during all ages since Ancient Greece to Middle Ages and Renaissance to the current capitalist era. Nowadays, the fact that female body, which is of vital importance for the economic circle of capitalism, is considered as the object of consumption besides as the object of desire, remains as another problematic. In this work, over the short movie " Cashback " , which was nominated for Oscars in 2006 and has gained the first prize at many international festivals, we'll examine and discuss the objectification of the female body by considering the historical processes mentioned above.
ÖZET Jürgen Habermas'ın " İletişimsel Eylem Kuramı " çerçevesinde, " Thank You For Smoking / Siga... more ÖZET Jürgen Habermas'ın " İletişimsel Eylem Kuramı " çerçevesinde, " Thank You For Smoking / Sigara İçtiğiniz İçin Teşekkürler " filmi, temel karakterlerinin meslekleri ve birbirleriyle kurdukları iletişim biçimleri açısından " iletişim etiği " ve " meslek etiği " gibi kavramlar üzerine düşünmemize yol açmaktadır. Filmdeki öznelerin, " araçsal eylemler " ve " stratejik eylemler " ayrımı doğrultusunda görevsel (deontolojik) ve ereksel (teleolojik) etik çerçevesinde okumalarını yapmak mümkündür. Bu makalede iktisadi gereklilikler ve görsel kültürün film boyunca karakterlerin eylemlerinde belirleyici rol oynamasının etik eylem açısından yarattığı çelişkiler irdelenecektir. Bu çalışmayla, filmin başkarakterlerinin meslekleri olan lobicilik ve gazetecilik üzerinden " gösteri toplum " unun iletişim biçimleri hakkında etik tartışmaların gerçekleştirilmesi amaçlanmaktadır. ABSTRACT In the framework of " The Theory of Communicative Action " by Jürgen Habermas, the movie " Thank You For Smoking " gives us an occasion to focus on the concepts like " communication ethics " and " business ethics " through the professions of its basic characters and their communication forms. It's possible to study filmic subjects around the dichotomy of " instrumental actions " and " strategic actions " within the frame of functional (deontological) and teleological ethics. We'll examine the contradictions about ethical action created by the fact that economical requirements and visul culture are determinants in the actions of protagonists. By this study, I aim to carry out ethical discussions about the communication forms of " show soceity " over lobbying and journalism careers of the protagonists.
Books by Ekin Gündüz Özdemirci
Environment and Fiction, 2019
The first discussions of environmental justice in Turkish cultural scene in the early years of Tu... more The first discussions of environmental justice in Turkish cultural scene in the early years of Turkish Republic appeared in the late 1950s, under the influence of social realist movement both in literature and film. Drawing upon the subject of ‘right to water’, Dry Summer is one of the first examples in Turkish film and literature that explore the issue of social justice from an environmental justice perspective. In this comparative analysis of the novella and the film we will discuss the treatment of environmental issues in social realist works, and comment on the ethical understanding of non-human nature in a period that is largely unexplored within ecocriticism studies in Turkey.
Necati Cumalı’s Dry Summer has not been studied through an ecological approach so far, yet there has been some mention of its premonition that within years to come water would exceedingly turn into a private property, in parallel with the increase of deforestation and draught.1 Considering today’s extreme global manipulation of water resources in the form of dams, reservoirs, canals or expanded bottled water markets, and the obstructing effects of hydroelectric power plants on natural habitats, which is a highly up-to-date local problem in Turkey, Dry Summer deserves to be studied in terms of its plot. But the main question here is how far does Dry Summer actually present, predicate or draw attention to an ecological problem “of an entire agricultural village faced with water shortage”.
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Papers by Ekin Gündüz Özdemirci
Books by Ekin Gündüz Özdemirci
Necati Cumalı’s Dry Summer has not been studied through an ecological approach so far, yet there has been some mention of its premonition that within years to come water would exceedingly turn into a private property, in parallel with the increase of deforestation and draught.1 Considering today’s extreme global manipulation of water resources in the form of dams, reservoirs, canals or expanded bottled water markets, and the obstructing effects of hydroelectric power plants on natural habitats, which is a highly up-to-date local problem in Turkey, Dry Summer deserves to be studied in terms of its plot. But the main question here is how far does Dry Summer actually present, predicate or draw attention to an ecological problem “of an entire agricultural village faced with water shortage”.
Necati Cumalı’s Dry Summer has not been studied through an ecological approach so far, yet there has been some mention of its premonition that within years to come water would exceedingly turn into a private property, in parallel with the increase of deforestation and draught.1 Considering today’s extreme global manipulation of water resources in the form of dams, reservoirs, canals or expanded bottled water markets, and the obstructing effects of hydroelectric power plants on natural habitats, which is a highly up-to-date local problem in Turkey, Dry Summer deserves to be studied in terms of its plot. But the main question here is how far does Dry Summer actually present, predicate or draw attention to an ecological problem “of an entire agricultural village faced with water shortage”.