Bibliografías temáticas / Turkish Melodrama

Literatura académica sobre el tema "Turkish Melodrama"

Autor: Grafiati
Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Turkish Melodrama"

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, n.º 2 (1 de agosto de 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Turkish cinema historiography which based on the repetition of director centered critical discourse will become outdated, if a new approach that focuses on film genres is approved.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, n.º 1 (abril de 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, n.º 1 (8 de abril de 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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5

Erdogan, N. "Narratives of resistance: national identity and ambivalence in the Turkish melodrama between 1965 and 1975". Screen 39, n.º 3 (1 de septiembre de 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, n.º 2 (26 de abril de 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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7

BANALOPOULOU, CHRISTINA. "Viral Interstitiality and Unlikely Resources: Gender and Labour in Turkish Public Theatre During the Covid-19 Pandemic". Theatre Research International 49, n.º 1 (26 de febrero de 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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8

Bergen-Aurand, Brian. "The Problem of Homosexuality: Desire-in-Uneasiness, Friendship, Family, Freedom". CINEJ Cinema Journal 5, n.º 1 (17 de febrero de 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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9

Kanaker, Osama, Iyad L. Y. Abusalah, Emran (Mohamad Ali) Abdalah Al Qudah, Zulkiple Abd Ghani y 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, n.º 3 (30 de septiembre de 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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10

Asadova, Dilbarkhon. "POSTMODERN ELEMENTS IN ORHAN PAMUK'S NOVEL “MY NAME IS RED”". CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 04, n.º 03 (1 de marzo de 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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Tesis sobre el tema "Turkish Melodrama"

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Germen, Baran. "The Melodramatics of Turkish Modernity: Vurun Kahpeye [Strike the Slut] and its Cinematic Afterlife". Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24237.

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Proposing melodrama as an aesthetics of victimhood, my dissertation examines the intermedial itineraries of notable feminist Halide Edib’s Vurun Kahpeye [Strike the Slut]. Originally serialized in 1923 and published as a novella in 1926 in Ottoman Turkish, Vurun Kahpeye was translated into modern day Turkish in 1946. The melodramatic story was then adapted for screen three times in 1949, 1964, and 1973, respectively, by Ömer Lütfi Akad, Orhan Aksoy and Halit Refiğ. With the circulation of these films on TV, the title Vurun Kahpeye has since the 90s morphed into an idiom designating the unjust treatment of the innocent. The persistent repetition of Vurun Kahpeye across media, I suggest, signifies melodrama’s aesthetic durability due to its affective excess: its efficacy in making a disaffected public experience its own victimhood. Thus, my dissertation provides an archeology of melodrama as a political technology through a reading of each of Vurun Kahpeye’s media iteration as embedded in its socio-historical context. In this account, the affective medium of cinema emerges as the main site for the formation of a secular mass public by linking secularism to structures of feeling rooted in victimization, suffering, and injury. And yet, the affective excess of melodrama, I demonstrate, renders Vurun Kahpeye’s normative project unstable and uncontainable with each iteration. At different moments in time, Vurun Kahpeye is a queer text exposing the heteropatriarchal nature of secular nationalism; lays the infrastructural, spectatorial, and aesthetic foundation of the classical cinema of Turkey; and serves as the project of a social realist, counter-populist, and anti- Western theory of cinema. Therefore, this dissertation traces the conflicting projections, aspirations, and feelings central to Turkish republican modernity that congeal and clash in, through, and around Vurun Kahpeye.
2021-01-11
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Capítulos de libros sobre el tema "Turkish Melodrama"

1

Antezana Barrios, Lorena, Pablo Andrada y Constanza Mujica. "Digital Transformations and the Impact of Turkish Telenovelas in Chile: Back to Melodrama". En Transnationalization Of Turkish Television Series, 27–39. Istanbul University Press, 2021. http://dx.doi.org/10.26650/b/ss18.2021.004.002.

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Erdoğan, Nezih. "11 NARRATIVES OF RESISTANCE: NATIONAL IDENTITY AND AMBIVALENCE IN THE TURKISH MELODRAMA BETWEEN 1965 AND 1975". En Asian Cinemas, 229–41. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474468039-017.

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3

Cassano Iturrı, Giuliana. "Digital Transformation: Turkish Melodramas on Peruvian Television". En Transnationalization Of Turkish Television Series, 113–25. Istanbul University Press, 2021. http://dx.doi.org/10.26650/b/ss18.2021.004.007.

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