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"Motion pictures Turkey History 20th century."
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Women and Turkish Cinema
Since 2000, there has been a considerable effort in Turkish cinema to come to terms with the military's intervention in politics and subsequent national trauma. It has resulted in an outpouring of cinematic texts. This book focuses on women and Turkish cinema in the context of gender politics, cultural identity and representation.
The central proposition of this book is that enforced depolticisation introduced after the coup is responsible for uniting feminism and film in 1980s Turkey. The feminist movement was able to flourish precisely because it was not perceived as political or politically significant. In a parallel move in the films of the 1980s there was an increased tendency to focus on the individual, on women's issues and lives, in order to avoid the overtly political.
Women and Turkish Cinema provides a comprehensive view of cinema's approach to women in a country which straddles European and Middle Eastern cultural conceptions, identities and religious values and will be an invaluable resource for students and scholars of Film Studies, Gender Studies and Middle East Studies, amongst others.
eBook
Western influences in Turkish advertising
PurposeThis purpose of this paper is to explore how Western design, fashion and aesthetic styles influenced advertising practice in Turkey in the post-Second World War era. Specifically, the authors focus on the key targets of the consumerist ideology of the period, women and discuss the representations of females in Turkish advertisements.Design/methodology/approachData were analysed using a combination of social semiotic and compositional analysis methods. Compositional analysis focused on the formal qualities and design elements of the ads; social semiotic analysis sought to uncover their meaning potentials in relation to social, cultural, political and economic dynamics of the period. The advertisements of a prominent Turkish pasta brand, Piyale, published in the local adaptation of the American Life magazine, between 1956 and 1966, constitute the data set.FindingsThe analysis reveals that Piyale followed the stylistic and thematic trends prevailing in American and European advertisements at the time and crafted ads that constructed and communicated a Westernized image of Turkish women and families. In line with the cultural currents of the 1950s and 1960s, the ads emphasize patriarchal gender roles and traditional family values and address the woman as a consumer whose priority is to please her husband and take good care of her children.Originality/valueThis study contributes to the advertising history in non-Western contexts and provides an understanding of the influence Western advertising conventions and fashion trends had on developing country markets. The findings indicate that Western-inspired representations and gender roles dominated advertisements of local brands during the post-war period.
Journal Article
Looking for the Balkan (Br)other: The National Gaze in Dzhanik Faiziev's The Turkish Gambit
Dzhanik Faiziev's 2005 The Turkish Gambit, based on Boris Akunin's novel of the same name, presents a spy story unfolding against the backdrop of the Russo‐Turkish War (1877–78) in the Balkans (today's Bulgaria). Bulgarians occupy a particular place in the Russian imagination. During the Russo‐Turkish War, Bulgarians entered the Russian cultural space as southern Orthodox Slavs in need of help. This image changed during the Soviet period, when Bulgaria was considered one of the most faithful Soviet satellites and also a favorite vacation spot which comforted with its familiar culture but offered enough differences with exotic southern touches. The post‐Communist era, the turn of the twentieth century when the novel and film were created, brought more unexpected alterations to the Russian perception of Bulgarians. Analyzing the representation of Bulgaria and Bulgarians in Faiziev's film, I contend that the seemingly reassuring sameness is marked by awkward otherness. I utilize scholarship on Russia's imperial experience in relation to the Caucasus and its patterns of artistic othering in my analysis in order to shed more light on these patterns and reveal their persistent nature. To complicate matters further, I argue that Alexander Etkind's concept of “internal colonization” sheds some light on these alterations but falls short of fully illuminating Russia's post‐Communist national anxieties.
Journal Article