Ideology in Turkish Cinema
Mencutekin takes on the role of ideology in the history of Turkish cinema critically analyzing the values and ideas that have shaped the message and stories of Turkish movies. This study is based on the thesis that to truly explore the specific issues currently vexing Turkish cinema, one has to confront the aesthetic, technological, and ideological assumptions in the deeply nationalistic and secular approach to Turkish cinema and how they engage with the real social values of Turkish society. If one hopes to attain a cinema purified from all kinds of crisis, more democracy is required to create a cinema that is at peace with the past, present, and future of Turkish society.
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12 September Abisel Adorno aesthetic Althusser Althusser’s Ankara apparatus argues Arslan artistic Atatürk audience Ayşe bourgeois Cahiers Cahiers Du Cinema capitalist cinematic art cinematographer claims Çokyiğit Comolli concept consciousness conservative coup created criticism culture Daldal Demir directors discourse dominant ideology Dorsay Eagleton ecole economic fact film theory Göle Halit Refiğ Hazar Hollywood ideas identity images industry institutions intellectuals Islamic İstanbul Karpat Kemal Kemalist Kemalist ideology Marxist Metin Erksan migration military modernization Muhsin Ertuğrul narration narrative national cinema Onat Kutlar Ottoman Özgüç People’s period points political production reality relations religion religious representation Republic republican revolution Revolutionist Cinema role Şasa Screen secular Şen Sinematek single party period socialist socio-realistic spectator stance started today’s transformation trend Türk Sinemasında Turkey Turkish Cinema Turkish films Turkish society Turks Uçakan Ulusal Cinema Umut values visual western Westernist Yayınları Yeşilçam Yılmaz Güney Yücel Çakmaklı