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Journal articles on the topic 'Turkish Melodrama'
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Yıldırım, Tunç. "The practice of “de-genrification” of the Turkish film criticism in the late 1950’s: The critical receptions and the aesthetic analysis of melodramas like Three Friends (1958) and Port of the Lonely (1959)1950’ler sonu Türk sinema eleştirisinin “türsüzleştirme” uygulaması: Üç Arkadaş (1958) ve Yalnızlar Rıhtımı (1959) melodramlarının eleştirel alımlamaları ve estetik çözümlemeleri." Journal of Human Sciences 13, no. 2 (2016): 3181. http://dx.doi.org/10.14687/jhs.v13i2.3945.
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This article focuses on two similar examples of melodramas which are representations of the general aesthetic tendency during the genesis of Yeşilçam period (1948-1959) of the Turkish cinema. This work aims to prove that in the aforementioned era, critical discourse which categorizes, names and classifies movies, imposed the practice of de-genrification for Three Friends and Port of the Lonely. To accomplish this aim, an analysis of comparative critical reception should be done in the first stage. Secondly esthetics analysis for those two movies of the same hybrid genre (melodrama), must be presented. The hypothesis of the article is that, traditional Turkish cinema historiography which based on the repetition of director centered critical discourse will become outdated, if a new approach that focuses on film genres is approved. Analyzing those two melodramatic and realist movies which are chosen as samples from an historical perspective, and placing them rightly in the tradition of Turkish Cinema, will only be possible with a developed method which cross-reads multiple primary sources and contextualize the critical discourse on the melodrama genre. ÖzetBu makale, Türk sinemasının Yeşilçam döneminin oluşum aşamasında (1948-1959) genel estetik eğilimi temsil eden tür sineması içinde hâkim konumda olan melodram türünün iki benzer örneğine odaklanır. Çalışmanın amacı sinema türlerini isimlendiren, tasnif eden ve ayırt eden dönemin eleştirel söyleminin Üç Arkadaş ve Yalnızlar Rıhtımı melodramları söz konusu olduğunda türsüzleştirme uygulaması yaptığını kanıtlamaktır. Bunun için ilk aşamada söz konusu filmlerin karşılaştırmalı eleştirel alımlama çözümlemeleri yapılır. İkinci olarak da, aynı melez türe (melodram) giren bu iki filmin estetik çözümlemelerine yer verilir.Makalenin varsayımı, ancak tür sineması gerçeğini temel alan yeni bir yaklaşımın onaylanması halinde eleştirel söylemi genel hatlarıyla tekrar eden yönetmen merkezli geleneksel Türk sinema tarihyazımının aşılacağı yönündedir. Örneklem olarak seçilen bu iki melodramatik gerçekçi filmin tarihsel açıdan açıklanıp Türk sinema geleneği içindeki yerlerine oturtulması ancak çoklu birincil kaynakları kesiştiren ve melodram türü hakkındaki eleştirel söylemi bağlamlaştıran gelişkin bir yöntemle söz konusu olabilir.
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Partovi, Pedram. "Televisual Experiences of Iran's Isolation: Turkish Melodrama and Homegrown Comedy in the Sanctions Era." Review of Middle East Studies 52, no. 1 (2018): 115–34. http://dx.doi.org/10.1017/rms.2018.4.
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AbstractThis essay examines the television viewing habits of Iranians since 2010, when the first of a series of crippling international sanctions were imposed on Iran after diplomatic efforts to curb the country's nuclear program stalled. Like many others in the region, viewers in Iran have been swept up by the recent wave of Turkish serials, which a new generation of offshore private networks dubbed into Persian and beamed to households with illegal satellite television dishes. These glossy melodramas provided access to consumerist utopias increasingly beyond the reach of Iranians living under the shadow of sanctions. Despite the enormous popularity of Turkish television imports with Iranian audiences, the Islamic Republic's networks managed to broadcast some successful “counter-programming” during this era of economic and political isolation. The comedy Paytakht/Capital (2011–15), more specifically, eschewed the glamour and glitz of many Turkish serials for ordinary characters living rather ordinary lives in small town Iran. In doing so, the series highlighted not only the problems that the sanctions regime created or exacerbated in Iranian society but also the virtues of remaining on the margins of a neoliberal global economic order. The essay concludes by asking how Iranian audiences might enjoy both Capital and Turkish melodramas simultaneously.
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Akser, Murat. "Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love." CINEJ Cinema Journal 3, no. 1 (2014): 162–80. http://dx.doi.org/10.5195/cinej.2013.57.
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This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film come from the construction of a hero-cult after a director deemed to be national?
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Öncü, Ayşe. "Representing and consuming “the East” in cultural markets." New Perspectives on Turkey 45 (2011): 49–73. http://dx.doi.org/10.1017/s0896634600001308.
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Abstract“The East” is an exceptional territory identified with Kurdish ethnicity within the geographical boundaries of the Turkish nation. This paper focuses on a critical historical moment, circa 2000-2004, when the promise of peace in this region was coupled with the explosive growth of urban consumer markets, to bring into public circulation a host of commercialized images of “the East” and “Eastern people.” It examines how “the East” became codified in popular television melodrama. It also tracks how “Eastern tourism” became incorporated into middle-class leisure practices. By juxtaposing television narratives and tourist narratives, it argues that the commodification in cultural markets both affirms its “exceptionalism” and challenges its taken-for-granted parameters.
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Erdogan, N. "Narratives of resistance: national identity and ambivalence in the Turkish melodrama between 1965 and 1975." Screen 39, no. 3 (1998): 259–71. http://dx.doi.org/10.1093/screen/39.3.259.
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Özkantar, Mustafa Özer. "Bereavement And Melancholy in Cinema: A Comparative Review Between Turkish and American Cinemas." Gaziantep University Journal of Social Sciences 23, no. 2 (2024): 437–50. http://dx.doi.org/10.21547/jss.1382137.
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Cinema is one of the most vivid and sensational reflection tools in the art world since it reverberates almost all emotions concerning human beings and their experiences. One of these emotions is grief due to the loss of our beloved ones and in the same way as existence and life, it is a striking issue covering lots of films and thus the concept of mourning and sorrow are the most outstanding and common themes having a profound impact on cinema audiences. In other words, despite cultural and social differences all around the world, grief and pain are intense and universal emotions. Understanding and interpreting the contexts in which these emotions are addressed in different cinema cultures is essential to reveal the cultural projections of cinematic narratives. As part of this idea, the main purpose of this study is to illustrate how Turkish Cinema and American Cinema approach the concepts of bereavement and lament. Accordingly, four well-known films, Canım Kardeşim (1973) Babam ve Oğlum (2005), Rabbit Hole (2010) and finally Manchester by the Sea (2016) have been determined via purposeful sampling method and analyzed by focusing on remarkable similarities and differences in terms of loss and death with the aid of descriptive analysis. As a result of reviews of the films, it has been observed that the Turkish approach to death and loss includes melodrama, emotional abuse, and local connotations while the American one involves a more realistic point of view underlying individual crises, mental collapses or devastations.
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BANALOPOULOU, CHRISTINA. "Viral Interstitiality and Unlikely Resources: Gender and Labour in Turkish Public Theatre During the Covid-19 Pandemic." Theatre Research International 49, no. 1 (2024): 101–6. http://dx.doi.org/10.1017/s0307883323000408.
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The growing literature on Covid-19 and theatre has demonstrated how the pandemic has intensified gendered precarities in theatrical labour.1 However, the pandemic has also provided feminist theatre makers with unexpected or unlikely resources, albeit with limitations. The Istanbul Municipal Theatre's (İstanbul Büyükşehir Belediyesi Şehir Tiyatroları or İBBŞT) production of Melek that premiered in 2020 is an indicative example of such rare and largely invisible cases of pandemic theatre. Critically engaging with the archives and repertoires of tuberculosis (TB) melodrama and the Turkish lives of the genre, Melek conducts an experiential mapping of the performativity of death and the porous borders between everyday performance and artistic performance. The production offered independent feminist theatre practitioners, who otherwise maintain a precarious existence in Turkey's theatre world, access to new spaces, resources and audiences. Combining archival with ethnographic research, I will demonstrate how, in the case of Melek, the intersections between actual and fictive viral contagion – what I define as viral interstitiality – constitute inclusive economies amidst the Covid-19 pandemic. In somatics, the interstitial is theorized and enacted as suspensions of static schisms that shape relational empowerment.2 Drawing upon this grasp of the interstitial as connective thresholds, viral interstitiality sheds light on the practices and the economies of care that emerge from the porous dynamism between the viral and the theatrical.
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Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom." CINEJ Cinema Journal 5, no. 1 (2016): 34–56. http://dx.doi.org/10.5195/cinej.2015.124.
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Zenne Dancer is a 2011 Turkish film written by Caner Alper and directed by Alper and Mehmet Binay. It is inspired by the story of Ahmet Yildiz, a gay Kurdish Turk allegedly murdered by his father in 2008 for dishonoring his family. Through its depiction of the unlikely friendship between three men, the film addresses the problem of homosexuality, the desire-in-uneasiness evoked by men being together, and the complex social structures of honor killings. In its address of honor killings, Zenne Dancer follows in a prestigious line of some of the best of Turkish and world cinema. Importantly, though, there are differences here as Zenne Dancer reimagines the relationships involved in crimes of honor. First, Zenne Dancer deploys the story of a father killing his son, rather than his daughter, to save the family honor, which is threatened by homosexual desire rather than the loss of virginity or illegitimate pregnancy. Second, rather than pitting the modern state against religion, tradition, or pre-modern culture, Zenne Dancer’s critique of honor killing implicates both the police and the military in the violence done in the name of tradition (not religion). Islam plays a much smaller part than economic deprivation or the trauma of war in this film. Third, the film complicates gendered expectations through its deployment of female characters—mothers, sisters, lovers—who all have their own relationships with and perspectives on these men. The film depicts heteropatriarchy as a system harmful to women and men and shows men and women enforcing and resisting that harm. In the end, Zenne Dancer connects these thematic concerns through a mixture of realist story, dance video, daydream, fairytale, and melodrama in a film ultimately concerned with the care of the self and the meaning of liberation. Thus, it resists falling into fictional “realist anthropology” or simplistic assertions of repression in confronting the complexities of honor killings, the problem of homosexuality, and friendship in cinema.
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Kanaker, Osama, Iyad L. Y. Abusalah, Emran (Mohamad Ali) Abdalah Al Qudah, Zulkiple Abd Ghani, and Bushra Abuhaq. "The Role of Watching Historical Drama on the Values of Affiliation and Justice: A Study on the Revival of Ertuğrul." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 3 (2022): 228–43. http://dx.doi.org/10.17576/jkmjc-2022-3803-14.
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Drama is a form of art that attracts myriad viewers throughout the world. It has four main types: comedy, tragedy, tragicomedy and melodrama. Drama originally is based on different types of contemporary or historical stories. Historical drama is a form of drama that envisions and visualises historical events to send desired messages to audiences. Drama in general and historical drama, in particular, is not merely entertainment-oriented. Rather, drama is value-laden. Currently, Turkish drama is popular in the Middle East. The historical drama of The Revival of Ertuğrul is not only popular in the Middle East, but it reached other Muslim countries such as Pakistan and Malaysia. The Resurrection of Ertuğrul accentuates values among viewers. The objective of this study is to discover the impact of watching historical drama on the values of affiliation and justice among Palestinian university students, and to test the moderating effect of watching rate. This paper is a quantitative study that implements a questionnaire as the instrument for data collection. The study discovered that watching historical drama has a significant impact on the value of affiliation (ß =0.697, t = 21.399, P<.05) and also on justice (ß =0.635, t = 17.775, P<0.05). However, watching rate has no moderating effect on affiliation (ß=0.026, t=0.792, p>0.05) nor on justice (ß=0.040, t=0.912, p>0.05). Keywords: Historical drama, values, affiliation, justice, Revival of Ertuğrul.
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Asadova, Dilbarkhon. "POSTMODERN ELEMENTS IN ORHAN PAMUK'S NOVEL “MY NAME IS RED”." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 04, no. 03 (2023): 40–48. http://dx.doi.org/10.37547/philological-crjps-04-03-07.
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This scientific article reveals the postmodern elements in the novel "My name is red" by Orhan Pamuk, one of the leading representatives of Turkish postmodern literature. The main idea of the work is to end the conflict between Eastern and Western cultures and to harmonize the two with each other. In the novel "My name is red", Orhan Pamuk skillfully uses the elements of detective fiction, East-West conflict in art, and melodrama in terms of the processing of old motifs and the development of events. The article emphasizes that the novel "My Name is Red" is a detective fiction and a love story. The novel tells about the colorful world of miniaturists, which is divided by East-West conflicts and is also the scene of fierce debates. The composition of the novel and the way of looking from a polyphonic point of view determine the individual style of the novel. The novel "My name is red" is a novel comprising 59 chapters, which analyze the paradoxes and parallels between history and today through the lives of various people, and reflect the complex reality. If we compare the novel "My name is red" with other novels by Orkhan Pamuk in a postmodern spirit, this novel can be called a novel full of deep symbols, diverse characters and a chain of interesting events. The novel differs from Pamuk's other novels by its comprehensive themes such as situations, characters, their inner world, ordinary and scary dreams, sexual desires, history, art, and crime. At the same time, this work can be considered a historical, romantic-adventure, and detective novel.
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Tahralı, Fatma Orhan, Kevin Smets, and Philippe Meers. "Cosmopolitan imaginary: The reception of Turkish TV series among young audiences in urban, rural, and diasporic settings (Istanbul, Emirdağ, and Brussels)." International Communication Gazette 85, no. 3-4 (2023): 198–215. http://dx.doi.org/10.1177/17480485221151111.
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This study explores the reception of selected melodramas and their cosmopolitan imaginary, based on a large-scale qualitative study consisting of 79 in-depth interviews with young Turkish audiences across three locations: the metropolis Istanbul, the rural town of Emirdağ, and Brussels which has a large Turkish diasporic community. In the past two decades, melodramas representing the upper-class, elite, westernized lifestyles taking place in luxury residences in Istanbul's urban landscape occupy a central space in the Turkish series as an example of cosmopolitan imaginary in their representation and mode of production. The study reveals that the cosmopolitan imaginary of these TV series leads participants to negotiate Turkish modernity, westernized secular, upper-class lifestyles, Turkish values, religion, and identity issues in these settings and destabilizes a uniform and fixed understanding of their identity and imagined community.
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Akbaş, Emel. "Mısır Filmlerinin Türk Sinemasında Yarattığı Etki." Etkileşim 2, no. 4 (2019): 276–84. http://dx.doi.org/10.32739/etkilesim.2019.4.74.
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Mısır filmlerinin 1930’ların sonlarından itibaren Türkiye’ye gelmesiyle birlikte halk tarafından yoğun ilgi görmüş, salonlar dolmaya başlamış ve uzun kuyruklar oluşmuştur. Ağır melodram tarzındaki bu filmler Türk toplumunun kültürüne, geleneklerine yaşam tarzına hitap etmiş ayrıca Türkçe sözlü Arapça ezgilerle bezenmiş bu filmler tarihsel geçmişin ve ortak kültürün etkisiyle kısa sürede içselleştirilmiştir. Mısır filmlerine gösterilen yoğun talep yapımcıları harekete geçirmiş ve yapımcılar Mısır’a sık sık giderek birbiri ardına birçok film ithal etmeye başlamıştır. Bu durumu fırsata dönüştüren Muharrem Gürses ise Mısır filmlerinin ağır melodram içeren konularını uyarlayarak peşi sıra filmler çekmiştir. Halk kısa sürede bu filmleri benimsemiş ve Mısır filmleri geri planda kalmış ve böylece ithal etmeye gerek kalmamıştır. Mısır filmleri tarzında yerelleştirilerek çekilen filmler popüler Türk sinemasının doğmasına neden olmuştur. Kısa sürede sinema kazançlı bir sektör haline gelmiştir. Bununla birlikte çekilen filmler ve film şirketlerinin sayısı da artış göstermiştir. Bu yükseliş 1975 yılına kadar sürmüştür.
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Oktay, Gülçin. "“Elderly” girls, “faded” melodramas in Selim İleri’s novel Ölünceye Kadar Seninim Selim İleri’nin Ölünceye Kadar Seninim romanında “yaşlı” kızlar, “geçkin” melodramlar." Journal of Human Sciences 14, no. 2 (2017): 1951. http://dx.doi.org/10.14687/jhs.v14i2.4609.
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Selim İleri stepped into the world of literature in 1967 with an article published in the Yeni Ufuklar (New Horizons) magazine. He has produced and continues to produce works in many types of the Turkish literature such as novel, story, essay, poem, analysis, and play. Having completed his fiftieth year in literature this year, İleri is mostly known for his novels despite he has published 72 books in various types. Yıldırım Türker defines “Selim İleri” as “the archaeologist of Turkish literature” in his article titled “Bir Cihan Kaynanası (A Mother-in-Law of the World)” and published in Radikal Gazetesi (Radikal Newspaper) in 2010 because of his descent into the roots of Turkish literature, his touching upon the lives of the marginalized and including these forgotten people in his novels. İleri tells in his novels the loneliness of languished people and their processes of reckoning; he transfers the “individuation” adventure of a person into the world of fiction through various events and characters. Although his novel Ölünceye Kadar Seninim (I am yours until I die) has been published in quite many editions, it remains “somewhat” marginal compared to other Selim İleri novels. The novel, on the other hand, tells the story of the “elderly girl” Süha Rikkat, who has lived through three revolutions, wrote more than forty love and blind love novels, and never married; and in the background of this story, it tells the effects of the social and political structure of the period on human psychology. The novel is important and it should be examined as the narrator topic is complicated, it makes a parody of popular love novels and romanticism, it narrates the psychology of Süha Rikkat that comes close to going mad between imagination and reality, and it reflects Selim İleri’s perspective for all these listed.Extended English abstract is in the end of PDF (TURKISH) file. ÖzetSelim İleri, edebiyat dünyasına 1967 yılında Yeni Ufuklar dergisinde yayımladığı bir yazıyla adım atmış, Türk edebiyatının roman, hikâye, deneme, şiir, inceleme, senaryo, oyun yazarlığı gibi pek çok türünde eserler vermiş ve vermekte olan bir yazardır. İçinde bulunduğumuz yıl itibariyle edebiyatta ellinci yılını dolduran İleri, çeşitli türde 72 kitaba adını yazmasına rağmen daha çok romancı kimliğiyle ön plana çıkar. Yıldırım Türker de 2010 yılında Radikal Gazetesi’ne yazdığı “Bir Cihan Kaynanası” adlı yazısında, Selim İleri’yi Türk edebiyatının köklerine inmesi, kıyıda kalmışların yaşamlarına değinmesi ve bu unutulmuş insanları romanlarında ele alması sebebiyle “Türk edebiyatının vefakâr arkeoloğu” olarak tanımlar. Romanlarında bunalan insanların yalnızlıklarını, kendileriyle hesaplaşma süreçlerini anlatan İleri, insanın “bireyleşme” serüvenini çeşitli olaylar ve karakterler aracılığıyla kurgu dünyasına taşır. Ölünceye Kadar Seninim romanı ise baskı sayısı fazla olan Selim İleri romanlarının yanında “biraz” kıyıda kalır. Oysaki roman, üç ihtilal süreci yaşamış, kırktan fazla aşk ve karasevda romanı yazmış, hiç evlenmemiş, “yaşlı kız” Süha Rikkat’in hikâyesini ve bu hikâyenin arkasında dönemin sosyal ve siyasî yapısının insan psikolojisine olan etkilerini anlatır. Roman; anlatıcı konusunun çetrefilli oluşu, popüler aşk romanlarının, romantizmin parodisini yapması, Süha Rikkat’in hayal ile gerçeklik arasında çıldırmaya varan psikolojisini anlatması ve tüm bu sayılanlara Selim İleri’nin bakış açısını yansıtması açısından önemlidir ve incelenmelidir.
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Özdemir, Burcu Dabak. "Postfeminism à la Turca." Journal of Middle East Women's Studies 17, no. 2 (2021): 177–96. http://dx.doi.org/10.1215/15525864-8949436.
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Abstract This essay analyzes how postfeminism is constructed on a visual level in the Turkish context. It uses theories of postfeminism to discuss new popular romantic comedies of Turkish cinema by comparing the new female protagonists with the women portrayed in Yeşilçam melodramas. Three films—Kocan Kadar Konuş (dir. Kıvanç Baruönü, 2014), Hadi İnşallah (dir. Ali Taner Baltacı, 2014), and Aşk Nerede? (dir. Semra Dündar, 2015)—are analyzed from a postfeminist perspective, opening up a new scholarly discussion about the place of postfeminism in the Turkish cinema. These films represent what may be termed “Turkified” postfeminism, which has been commonly discussed for the Western world but not sufficiently taken into account for Middle Eastern women.
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Trauger, Mirna. "The Ottomans Conquer Latin America: The Rise of Turkish Melodramas." Hispanic Review 91, no. 2 (2023): 221–45. http://dx.doi.org/10.1353/hir.2023.0016.
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Gönlügür, Emre. "Filmic Imagination as Emotional Homeland: Confronting Callousness, Achieving Home in Post-war Turkey." Emotions: History, Culture, Society 6, no. 1 (2022): 150–68. http://dx.doi.org/10.1163/2208522x-02010151.
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Abstract This essay explores the centrality of emotions in the Turkish experience of urban modernity during the post-war decades. It draws on cinematic representations of a range of social emotions stirred by the urban condition in 1970s Istanbul. Tracing first the relevance of popular melodramas to post-war Turkish social imaginary, the article then proceeds with an analysis of three narrative tropes that shed light on people’s emotional navigation of tensions and conflicts wrought by rapid urban change: the callous factory owner as a figure of collective resentment, the old wooden family home as a place of emotional refuge, and the rhetoric of righteous anger to cultivate feelings of solidarity. Methodologically, the study argues for a greater use of films as a valuable source for emotions history, particularly in connection with the historical study of the built environment.
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Laurence Larochelle, Dimitra. "Transnational melodramas and gendered resistance. The reception of Turkish soap operas by women in Greece." SOCIOLOGIA DELLA COMUNICAZIONE, no. 63 (June 2022): 76–93. http://dx.doi.org/10.3280/sc2022-063005.
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Turkish soap operas propose an alternative modernity marked not only by tra-ditional family structures and gender roles but also by the social conservatism im-posed by the current government. Nevertheless, the soap operas in question are also under the pressure of representing social change, particularly as far as wom-en's rights are concerned. Through this article, the author aims to highlight the ways in which Greek women resist to the patriarchate through their decoding of these particular media texts. Based on the results of an audience ethnography, the author demonstrates that the resistance of meaning receivers is neither always op-positional to the media text, nor necessarily progressive.
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Sertbulut, Zeynep. "The dizi industry's geographic imaginaries and narratives of global success." International Communication Gazette 85, no. 3-4 (2023): 289–306. http://dx.doi.org/10.1177/17480485231152870.
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Based on 21 months of ethnographic research in the dizi industry, Turkey's internationally popular serialized TV melodramas, this article explores how dizi makers explain their productions’ global popularity and how they imagine, classify, and discuss foreign markets. It describes dizi makers’ competing ideas of the “global” and different regimes of value when evaluating the popularity of their products in the world. It illustrates how Turkish dizi creatives, seeking prestige, regard the wide-spread circulation of their productions in Non-Western contexts not as an asset but as an impediment to achieving symbolic capital and recognition. The article also demonstrates that at a time when a significant portion of the dizi industry's profits come from foreign sales in Latin America, the Balkans, and the Middle East, producers and distributors find themselves in a position where a notion of the “global” that is inclusive of non-Western regions is strategically and economically necessary to them. It makes the case that despite these differences in what it means to be global—for dizi creators who seek prestige and for the distributors and producers that focus on profitability—both construct the global using developmentalist logics.
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Baran, Şebnem. "Selling Turkish quality: Multiple proximities and Turkish format exports in the post-streaming era." International Communication Gazette, February 7, 2023, 174804852311525. http://dx.doi.org/10.1177/17480485231152541.
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A close analysis of puhutv’s Şahsiyet ( Persona, 2018) and its Mexican adaptation for HBO Max Latin America (HBO Max Latinoamérica), Asesino del Olvido ( Before I Forget, 2021) reveals that the show’s hybridization of the Turkish series’ melodramatic conventions with the Anglo-American quality TV characteristics is the key to its adaptability for Mexican audiences. Melodrama’s domination in both Turkey and Mexico contributes to the similar utilization of melodramatic elements when the Anglo-American quality TV model is adapted for the local audiences. Therefore, the proximity around the mainstream popularity of melodramas in both markets and the shared juxtaposition of melodrama and quality allow Şahsiyet to flow as a quality TV format between Turkey and Mexico.
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Çelik, Kemal. "Transformation of Melodrama in Turkish Cinema from Yeşilçam to the Present: The Films Innocence and Destiny." Selçuk Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, January 25, 2024. http://dx.doi.org/10.52642/susbed.1337622.
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Melodramas are dramatic works of art where the detailed character studies dominate the plot. The dialogues used in melodramas are generally emotional, and the characters are often portrayed in stereotypical forms. Melodramas usually focus on emotions like love. As a subgenre of drama films, melodramas carry the mentioned characteristics of this genre; thus, they have plotlines driven by powerful emotions such as love. Content-wise, melodrama films often deal with tragedies like hopeless love stories. Characters must struggle against significant social pressures from their lovers or families. Sacrifice is a fundamental tool for characters in this struggle. Yeşilçam melodramas adhere to the requirements of this genre. They typically revolve around an exalted love that could be noble and spiritual. Characters must fight for this love like medieval knights. The characters in these films are usually unfortunate, and their mistakes turn their lives into hell. Zeki Demirkubuz, an important director of the New Turkish Cinema, continues the tradition of melodrama as an inheritor of its themes. However, he differentiates himself from them in terms of how he approaches the concept of good and evil. This study examines the difference between these two understandings of melodrama through Demirkubuz's films "Innocence" and "Destiny" using content analysis and critical discourse analysis methods. Demirkubuz’s two films selected as samples carry the general characteristics of Yeşilçam melodramas such as exaggerated emotions, missed happiness, extremes, bipolar lives, event structures based on cause-and-effect relationships, monologue uses, music uses, while they differ from them at an important point. While Yeşilçam melodramas view humans as ontologically good beings despite their mistakes, Demirkubuz's cinema accepts humans as ontologically evil beings. This study will reveal that, unlike the previous studies’ theses, Demirkubuz’s cinema places evil at the center of its films through their event structures, dialogues and word choices, and thus turns upside down the approach of Yeşilçam melodramas to evil.
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Dönmez-Colin, Gönül. "Istanbul 2010." Kinema: A Journal for Film and Audiovisual Media, November 20, 2010. http://dx.doi.org/10.15353/kinema.vi.1220.
Full textAbstract:
29th ISTANBUL INTERNATIONAL FILM FESTIVAL 2010 The Istanbul International Film Festival, the largest of its kind in the country, has enriched its repertoire this year with 200 films under twenty-three categories ranging from the prestigious products of 2009 and recent films of 2010 to all time classics. Concentrated largely around the Beyoğlu quarter, where the Turkish national cinema was born, the festival stretched over two weeks, with the second week specially designed for the foreign guests. This year the foreigners had a chance to explore the magnificent city, the Cultural Capital of Europe for 2010, even longer, when the eruption of the Eyjafjallajokul volcano in Iceland paralyzed most European air traffic for several days. The opening film was the melodrama Le concert (The Concert) by Radu Mihaileanu, a France-Italy-Romania and Belgium co-production that explored the issue of identity through classical music. Among the eleven films...