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Journal articles on the topic 'Turkish Melodrama'

Author: Grafiati

Published: 26 July 2024

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1

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 pr

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2

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 unde

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3

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 com

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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

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5

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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6

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. Understandi

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7

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 o

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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, thou

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9

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 th

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10

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

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11

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 representati

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12

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

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13

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 Radika

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14

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 ma

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15

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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16

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 hom

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17

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 resista

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18

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 t

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19

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 mainst

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20

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. S

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21

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.

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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 Euro

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