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1. Emin Alper'in Kurak Günler Filmine Bakhtinyen Bir Yaklaşım

Author:
Baran Barış
Publication Date:
12-2024
Content Type:
Journal Article
Journal:
AURUM Journal of Social Sciences
Institution:
Altinbas University
Abstract:
Bakhtin, çeşitli sanat dallarında oluşturulan anlatıların incelenmesi için Einstein’ın Görelilik Kuramı’ndan ödünç aldığı kronotop kavramını geliştirmiştir. Bu kavram çerçevesinde yapılan anlatı çözümlemelerinde zaman ve uzam kurucu öğe kabul edilerek birlikte ele alınmaktadır. Bakhtin’e göre zamansal ve uzamsal belirlenimler, duygu ve değerlerin izlerini taşır. Yüzyıllara bağlı olarak değişen kronotopları yazınsal metinler üzerinden sınıflandıran araştırmacı yol – karşılaşma kronotopu, şato kronotopu, kesişme kronotopu (misafir odası ve salon kronotopu, sokaklar, kentler, kırsal bölgeler ve taşra kasabaları) ve eşik (kopuş) kronotopu olmak üzere dört temel kronotop belirlemiş; on dokuzuncu yüzyıl metinlerine kadar sürdürdüğü çözümlemelerinde ulaştığı kronotop türlerinin yanı sıra farklı ülkelerin yazınsal metinlerinde ve farklı dönemlerde başka kronotopların da saptanabileceğine dikkat çekmiştir. Kronotop kavramı, günümüzde yazın dışındaki sanat dallarında üretilen anlatıların çözümlenmesinde de kullanılmaktadır. Emin Alper’in Kurak Günler (2022) filmi açılış sekansından itibaren zaman ve uzamın kurucu öğe olarak karşımıza çıktığı bir anlatı sunmaktadır. Bu yapısı, filmin kronotop kavramı çerçevesinde incelenmesine olanak sunmaktadır. Suç ile güç arasındaki ilişkiyi irdeleyen, linç kültürünü besleyen kodların nasıl yeniden üretildiğini ortaya koyan ve izlekleriyle anlatıdaki zaman ve uzam öğelerine ilişkin obruk vb. imgeler arasında doğrudan bağlantı kuran Kurak Günler filmindeki kronotopların saptanmasının ve anlatıdaki işlevlerinin çözümlenmesinin amaçlandığı bu çalışmanın araştırma soruları şöyledir: (i) Filmde hangi kronotoplar bulunmaktadır? (ii) Bu kronotoplarla Bakhtin’in belirlediği dört temel kronotop arasındaki benzerlik ve farklılıklar nelerdir? (iii) Filmde tespit edilen kronotoplar, anlatının yapılandırılmasında hangi işlevlere sahiptir? Yapılan incelemelerde filmdeki kronotopların Bakhtin’in dört temel kronotopuyla büyük ölçüde benzerlik gösterdiği tespit edilirken anlatının kronotoplarla filmin temel izlekleri arasındaki ilişkinin koşutluğu üzerinden yapılandırıldığı görülmüştür.
Topic:
Arts, Culture, Film, and Chronotope
Political Geography:
Global Focus

2. From Board Games to Video Games and the World of Avatars: Jumanji: Welcome to the Jungle

Author:
Ayla Akdoğan and Olgahan Bakşi Yalçın
Publication Date:
10-2024
Content Type:
Journal Article
Journal:
Journal of Academic Inquiries
Institution:
Sakarya University (SAU)
Abstract:
In the digital age, the relationship between film and literature demonstrates how different forms of art can collaborate to improve the storytelling experience. Rather than competing, these mediums complement one another, each bringing their own strengths to the storytelling process. This mutual relationship not only enhances the audience's experience but also fosters a greater appreciation for both film and literature (Hutcheon, 2006; Sanders, 2016). The various film adaptations of Chris Van Allsburg’s picturebook Jumanji (1981) are excellent examples of how literature and film can complement and improve one another over time. The first major adaptation of Jumanji was released in 1995 starring Robin Williams and directed by Joe Johnston. Decades later, the story of Jumanji was revitalized with the releases of Jumanji: Welcome to the Jungle (2017) and Jumanji: The Next Level (2019) both directed by Jake Kasdan. These adaptations illustrate the changing nature of storytelling across mediums and how each new iteration introduces new perspectives and engages contemporary audiences in novel ways. Mikhail Bakhtin’s concepts of heteroglossia and dialogic relationship (1981) are great tools for understanding how different voices and cultural contexts interact within and between texts, thereby revealing the dynamic nature of storytelling and interpretation. Thus, this paper aims to investigate how Bakhtin's concepts of heteroglossia and dialogic relationship function in Jake Kasdan's 2017 sequel, focusing on how the film adaptation evolves in response to its contemporary context.
Topic:
Film, Adaptation, Dialogic Relationship, and Heteroglossia
Political Geography:
Global Focus

3. Revisiting Gaza Ghetto

Author:
Shifaa Alsairafi
Publication Date:
06-2024
Content Type:
Working Paper
Institution:
Center for Contemporary Arab Studies (CCAS)
Abstract:
Gathering for Alarba’een, a day of remembrance when mourners come together on the 40th day after the death of a loved one or prominent figure, is a common practice in much of the Arab world. The 40th anniversary of the groundbreaking film Gaza Ghetto: Portrait of a Palestinian Family, 1948-84, which was co-directed by CCAS Professor Joan Mandell and was the first documentary produced about Gaza, was accompanied by a similarly solemn tone—not only because the neighborhoods depicted in the film have been destroyed since the documentary was released in 1984 but also because the situation in Gaza has grown exponentially worse in recent decades. Gaza Ghetto is set in Jabalia, which—along with the entire Gaza Strip—came under Israeli occupation following the 1967 war, and by the 1980s had become home to the largest refugee camp in the occupied Palestinian territories. Mandell and her co-directors chose Jabalia as the primary site for the documentary not only because of its size and historical importance, but also because of her familiarity with many intellectuals and artists living there who could narrate their story. “Jabalia had a vibrant life of arts and activism, and many people who wanted to share it,” recalls Mandell. Although the film includes interviews with many Jabalia residents, its producers decided to center the story around an individual family so that they could document daily life under occupation. They ultimately selected the family of Abu el-Adel because of the family’s openness and ability to articulate their own experiences as part of a collective story. Indeed, the personal stories narrated by Abu el-Adel, his daughter Itidhal and son-in-law Mustafa, were representative of the tragedies facing thousands of Palestinians and the mass dispossession forced upon them by the Israeli state. Mandell recalls that Itidhal and her daughter Ra’ida—both strong female figures—were a major reason she was drawn to portray this family. The film opens with Itidhal confronting the Israeli settlers who live in a town that displaced her father’s village and includes scenes of Itidhal caring for her six children while husband Mustafa works the nightshift, as well as sharing the story of how her mother died in childbirth when Israeli soldiers would not allow an ambulance to reach her during a camp lockdown.
Topic:
Human Rights, History, Film, Atrocities, and Documentary
Political Geography:
Middle East, Israel, Palestine, Gaza, and Jabalia

4. Druk (2020) Movie as an Example of Authentic Way of Being: A Heideggerian Approach

Author:
Meltem İşler Sevindi and Atilla Akalın
Publication Date:
04-2023
Content Type:
Journal Article
Journal:
Journal of Academic Inquiries
Institution:
Sakarya University (SAU)
Abstract:
Heidegger's philosophical project is generally seen as atheoretical and anti-logical because he remarked on the subjective conditions of knowledge and the everydayness of human behaviors. To him, Dasein's everyday reasoning is coercively and inevitably framed by the present-at-hand modes of understanding. Heidegger alerts us about the possible origins of present-at-hand modes of everyday experience. One of them is Das Man that, is associated with a categorical otherness for Heidegger. It can be regarded as an origin of the primordial scheme of experiences for Dasein that takes those experiences for granted as an axiological ground for their lives in the World. Heidegger sees that process as an inauthentic condition for Dasein's fundamental character. Everyday reasoning generates a variety of present-at-hand instruments to understand and interpret the World and Dasein itself; thus, Dasein moves between Das Man and authentic modes. With a Heideggerian approach, this article observes how the characters in the film Druk take themselves out of Das Man and go into the authentic mode and how they do this through alcohol. The primary data source is Druk and the four teacher characters in the film. In the movie, alcohol is not a ready-to-hand object but a tool motivating its users and pushing them to perform. It is an example equivalent to the Heideggerian analogy of the hammer. The movie is a well-fitting example of the Heideggerian position with the story of four teachers who experiment with having a certain amount of alcohol in their blood to achieve a better version of themselves.
Topic:
Film, Philosophy, Alcohol, and Martin Heidegger
Political Geography:
Global Focus

5. Raising the Alarm: Climate Activism in North Africa

Author:
Moussa Sall, Intissar Fakir, Hajar Khamlichi, Thowaba Ben Slema, and Houssem Hamdi
Publication Date:
04-2021
Content Type:
Video
Institution:
Middle East Institute (MEI)
Abstract:
Across the MENA region, civil society plays a key role in putting climate on the agenda for governments and the private sector. How are activists and advocates in North Africa building momentum in their communities and globally to address climate change? How can social media, film, and art bridge gaps and create a global demand for greater sustainability? Intissar Fakir will be joined in conversation with leading figures in the fight for climate action in North Africa.
Topic:
Civil Society, Climate Change, Arts, Social Media, Film, and Sustainability
Political Geography:
Middle East and North Africa

6. Mapping Palestine/Israel through Interactive Documentary

Author:
Dale Hudson
Publication Date:
01-2021
Content Type:
Journal Article
Journal:
Journal of Palestine Studies
Institution:
Institute for Palestine Studies
Abstract:
Available on publicly accessible websites, interactive documentaries are typically free to use, allowing audiences to navigate through amounts of information too large for standard film or television documentaries. Media literacy, however, is needed to understand the ways that interactive documentaries reveal or conceal their power to narrate. Examining ARTE France’s Gaza Sderot (2008–9), Zochrot’s iNakba (2014), and Dorit Naaman’s Jerusalem, We Are Here (2016), this article discusses documentaries that prompt audiences to reflect upon asymmetries in the power to forget history and the responsibility to remember it by mapping Palestinian geographies that have been rendered invisible. Since media ecologies are increasingly militarized, particularly in Palestine/Israel, interactive documentaries like iNakba and Jerusalem, We Are Here can disrupt Israeli state branding as technologically innovative while minimizing risk of surveillance by avoiding the use of location-aware technologies that transform interaction into tracking.
Topic:
Science and Technology, Communications, Media, Film, and Conflict
Political Geography:
Israel, Palestine, and Jerusalem

7. Vietnamese Representation, Queerness, Nostalgia in Leon Le's Song Lang

Author:
Leon Le, Ronald Gregg, Takuya Tsunoda, Ying Qian, and John Phan
Publication Date:
04-2021
Content Type:
Video
Institution:
Weatherhead East Asian Institute, Columbia University
Abstract:
LGBTQ representation in Vietnamese film—itself only a recently burgeoning artform and industry—has hitherto been virtually nonexistent. And yet, the film industry in Vietnam has experienced a meteoric development over the past fifteen years or so—overlapping almost precisely, with a rapid and dramatic transformation in social attitudes towards sexuality, and especially same-sex relationships. While LGBTQ relationships and identities have always been a part of Vietnamese culture over long centuries of development, the past fifteen years have witnessed a turn towards explicit embrace, as well as a broadening concept of sexuality and relationship, beyond simple and strict notions of homo-versus heterosexuality. This broadening has included the representation of deeply emotive same-sex relationships that have less to do with sexual liberation than they have to do with the revival and/or reconsideration of a diversity of emotional relationships that occur between members of the same sex—including the erotic and romantic. Leon Le’s Song Lang stands at the forefront of this movement. Filmed entirely in Vietnam, Song Lang focuses on the relationship between a local gangster and an actor in a Cai Luong ‘reform opera’ troupe under the control of the gang. The film has been praised not only for its rich visual vocabulary, sense of tone and atmosphere, homage to the artform of Cai Luong opera, and uniquely nostalgic look at 1980s Saigon, but also for its sensitive and moving expression of a relationship between two that defies social categorization. Writer/Director Leon Le emigrated to the US at the age of 13, and after making a name for himself as an actor in New York’s musical theater scene, has gone on to become an award-winning director. His two previous films, Dawn (2013) and My Mother (2014) both earned him multiple awards, including Best Short Film for Dawn (VIFFI), Best Director for Dawn (YXINEFF), Best Director and Best Actor for My Mother, and Best LGBT Short Film (YXINEFF) for both Dawn and My Mother. Please note that a few minutes are missing from the introduction of the event.
Topic:
Arts, Film, Representation, LGBT+, and Nostalgia
Political Geography:
Vietnam and Southeast Asia

8. Archives of Solidarity: Yugoslav Newsreels and the Non-Aligned World

Publication Date:
11-2021
Content Type:
Video
Institution:
The Harriman Institute
Abstract:
Please join the Njegoš Endowment for Serbian Language and Culture at the East Central European Center for a lecture by the award-winning director and film scholar Mila Turajlić. Moderated by Aleksandar Bošković and Christopher Caes, co-directors of the East Central European Center. Mila Turajlić is an award-winning director born in Belgrade, Yugoslavia. Her films have screened at numerous festivals including Toronto and Tribeca, and have been released theatrically in Europe, North America and across the former Yugoslavia. Her most recent film The Other Side of Everything (2017) was HBO Europe’s first co-production with Serbia. It won 32 awards including the IDFA Award for Best Documentary Film, the Grand Prix for Best historical documentary released in France in 2018, the IDA Award for Best Writing and was nominated for the LUX Prize the European Parliament. Turajlić's debut feature doc, Cinema Komunisto (2011) played at over 100 festivals and won 16 awards including the Gold Hugo and the FOCAL Award for Creative Use of Archival Footage. Turajlić is currently in post-production on her third feature film, The Labudović Reels, an archival road trip through the archives of African liberation movements of the 50’s and 60’s filmed by Stevan Labudović, the cameraman of Yugoslav President Tito. In her work with archives, Turajlić researches the intersection of personal and national memories, seeking to reactivate forgotten histories, through forms ranging from lecture performances and video art to analytical essays. She teaches documentary and creative use of archives at Sciences Po and INASup in Paris, as well as at a documentary programs run by the Balkan Documentary Center, and Scottish Documentary Institute.
Topic:
Media, Film, and State Media
Political Geography:
Europe

9. Spike Lee Brings Back Vietnam Memories of Race and the Bond in Combat

Author:
Kenneth M. Quinn
Publication Date:
08-2020
Content Type:
Journal Article
Journal:
American Diplomacy
Institution:
American Diplomacy
Abstract:
As the country is convulsed by the simultaneous nationwide Black Lives Matter protests over racism and the devastation of more than 150,000 Coronavirus deaths, I sought escape in Spike Lee’s latest offering on Netflix— “Da 5 Bloods,” a story of four African American army veterans returning to Vietnam 50 years after their wartime service. They are drawn back together to return to their former battlefield to search for the remains of their Black comrade—the fifth Blood—who died in combat but whose body was not recovered.
Topic:
Race, Media, Film, History, and Vietnam War
Political Geography:
Vietnam and United States of America

10. When “The Bridges of Madison County” Came to Moscow

Author:
Gregory Orr
Publication Date:
11-2020
Content Type:
Journal Article
Journal:
American Diplomacy
Institution:
American Diplomacy
Abstract:
Of all the cultural tools used by the United States Information Agency (USIA) to promote public diplomacy, film had a prominent role. For nearly half a century, the film division at USIA produced, distributed, and sponsored films throughout the world. It is estimated that the USIA archive included nearly 18,000 films distributed to over 150 nations in dozens of languages. They ranged widely in style (documentary, newsreel, animation, educational, and even fiction) and subject matter (social issues, biography, history, the arts, the environment, daily life in America, and sports.)
Topic:
Diplomacy, Media, Film, Soft Power, and Memoir
Political Geography:
United States of America