Yalçın

The 1980 Turkish coup d’état by the military on September 12 was undoubtedly an event that left its mark on the 1980s. This coup followed a series of political, economic, and social problems and formed a major rupture in Turkish democracy. The resulting government banned political parties, imprisoned their leaders, restricted individual rights and freedoms, and closed down civil society organizations. Until the Turgut Özal government was formed in 1983, the military, which had maintained its influence over the government, drafted the 1982 Constitution. This constitution proposed more restrictions on freedoms than the 1960 Constitution and kept the coup leader in power as head of state until 1989. In the first half of the 1980s, the military was influential in the country’s governance and preferred security policies. Society was depoliticized by referring to the polarization before the 1980s. The coup had had an effect on the field of cinema, much like on politics and society. Many filmmakers were arrested or exiled, and professional organizations were shut down.Turgut Özal, who came to power in 1983, had the opportunity to implement the liberal January 24th Decisions that he had prepared before the coup. These decisions aimed to open the country’s economy to the outside world. First, these decisions were implemented in the Ulusu government the military had appointed and later through the Motherland Party (ANAP), which Özal himself had founded. When ANAP came to power in 1983, Özal found the opportunity to implement these decisions throughout the 1980s. Thanks to these policies, access to all kinds of commercial goods became easier, encouraging people to consume, while income inequality and fictitious exports&nbsp;&nbsp;increased. Although Özal preferred a relatively liberal approach to the economy and social sphere, he adopted the Turkish Islamic Synthesis approach in cultural policies. The military, who saw religion as an instrument against the threat of communism, did not confront civilian politics on this synthesis, as it showed no direct negative attitudes against Atatürk, the founder of Türkiye. Because the state did not directly produce movies in the field of cinema, one cannot talk about movies produced within the scope of this synthesis, which had an impact on culture and education; however, this study can consider some TV series shot by ‘Millî Sinema’ (People’s Cinema) filmmakers on behalf of the Turkish Radio and Television Corporation (TRT) in this context.Cinema had experienced audience losses as a result of the widespread use of video recording and display devices and television receivers in the 1980s. After 1987 when foreign companies were allowed to operate in Türkiye and large American companies began to dominate the sector, Turkish cinema lost its traditional financial, distribution, and screening opportunities. As a result, the number of films, audiences, and theaters dropped drastically. During this time that saw the coup’s policies depoliticize society and Özal’s policies direct the masses toward consumption, Turkish cinema began to produce more films dealing with individual issues than in previous periods. Women’s films were the most common films to deal with individual issues. Apart from these, arabesque films can be said to have become widespread during this period. After 1985, films were made that dealt with the effects the military coup had on individuals, but they did not directly target the coup itself. During this period, comedy films became the most sensational genre, and these sometimes included social, political, and economic criticisms.In the 1980s, Türkiye’s cinema was supervised through the Regulation on the Supervision of Films and Film Scenarios (Republic of Türkiye, 1977), which had been prepared on the basis of the Law on the Duties and Powers of the Police (Republic of Türkiye, 1934). In 1983 three years after the coup, the Regulation on the Inspection of Films and Film Scripts was enacted. However, the most important legislative change in the field of cinema in the 1980s was the Law on Cinema, Video, and Music Works, (Republic of Türkiye, 1986), With this law, Turkish cinema gained its first cinema law. which could be seen as a reflection of the relatively liberal policies of the Özal era. This law put an end to police censorship and abolished script censorship, after which the number of films criticizing the 1980 Turkish coup increased. In the same year, the Regulation on the Supervision of Cinema, Video, and Music Works was issued based on this law and shaped the legal legislation regarding film supervision.&nbsp;This system brought every work of cinema produced in Turkish cinema before film control commissions in accordance with the principles set out in the law and subjected films to being inspected from various angles. While the 1977 and 1983 Regulations had discussed the grounds for banning a movie in greater detail, these grounds were expressed more succinctly in the 1986 Regulation. Accordingly, the regulation states, “Films, videos, and musical works that contain elements of crime and incitement to commit crime in terms of the indivisible integrity of the state with its territory and nation, national sovereignty, republic, national security, public order, public interest, public morality, and public health; that are contrary to foreign policy; and that are not in accordance with our national culture, customs, and traditions are not allowed to be shown or performed.” The film control commissions that had been established pursuant to the legislation made decisions on acceptance, rejection, or conditional acceptance for thousands of films regarding what should be included in a script or shown to the public.&nbsp;

The Relationship Between Power and Cinema in Türkiye in  the 1980s: The Influence of the 1980 Coup d’État

Hilal

Res. Assist.

Cinema and architecture represent two inseparable disciplines that evolved in tandem with humanity’s relationship with space. The two fields of study have maintained a constant dialogue since their conception. The art of cinema has been inextricably linked to time and space since its inception. Architects frequently employ cinematic terms such as frame, sequence, and framing, and the terminological scaffolds of cinema and architecture often intersect despite certain inherent differences in their use of space. In the cinematic realm, space can encompass an entire city or be constricted to the confines of a meticulously constructed studio set. Production teams on studio sets exert greater control over the environment. Set designers can easily construct digital cities, landscapes, or entire worlds. Modern technological advances allow filmmakers to conjure worlds that defy reality, manipulate crowd sizes, enable characters to defy gravity, and execute wide-ranging imaginative actions such as fantastical battles. These cinematic spaces offer richer and more immersive experiences than their physical counterparts and are often labeled “re-experienced spaces.” Camera placement is pivotal to the formation of audience perception. For instance, a wide-angle view of the crowded İstiklal Street evokes a different emotional response than a close-up frame of the same scene. The wide shot appears to overflow with people; the close-up amplifies the sense of density, creating an illusion of a larger crowd. The interplay of camera positions, angles, lighting, editing, set design, and color manipulation generates a powerful tool to manipulate the use of space in alignment with the director’s vision and the expertise of the technical team. A literature review reveals studies centered on examining the relationship between cinema and space in the contexts of animation and science fiction films. Technological advancements have caused science fiction films to increasingly embrace the power of cinema to materialize the realm of imagination, seamlessly integrating architecture into this process and enabling the actualization of spaces that defy the constraints of reality. The advent of 3D, 4D, and 5D filmmaking, coupled with the use of specialized glasses, further intensifies the spatial experience, immersing viewers in the cinematic world as active participants. Cinematic spaces transcend mere imagery and become tangible experiences; physical spaces are transformed into captivating narratives on the silver screen. In such contexts, cinematic spaces can be broadly categorized as either existing or designed. This study investigates the cinematic use of space in the film Leviathan (Andrey Zvyagintsev, 2014). Intensive scrutiny of Leviathan reveals a consistent reliance on existing spaces as cinematic environments. The film employs three main forms of cinematic space to enhance the narrative across various scenes: contextual, complementary, and dialogical spaces. The entirety of the film unfolds in Russia in a fishing town by the sea. The director utilizes wide shots to introduce the setting, immersing the audience in the world inhabited by the characters. These establishing shots deliver a wealth of information about the surroundings of the characters and convey cultural, social, and economic codes. The film’s Russian location is reflected in the selection of cold colors: blue and green hues dominate the lighting, color palette, and textures. The characters are primarily captured in fixed or wide shots when they are not engaged in dialogue, and focus is maintained on the setting rather than the individual. Close-up shots are reserved for scenes with dialogues, and the director employs depth of field in such scenes to highlight specific aspects. Leviathan is a testament to the masterful use of cinematography in Russian cinema. The film seamlessly integrates the chosen setting as a complementary element to convey the intended message. The director skillfully interweaves philosophical and religious themes throughout the narrative to underscore the significance of the Leviathan story.

The Construction of Cinematic Space in Leviathan

Fulya

People encounter various information throughout their lives, both voluntarily and unwittingly. This information is stored in their memory alongside the events they experience. The human brain can remember information temporarily or permanently, and this information shapes the future and the people who are informed by it. Therefore, memory is an important element of human life, as its structure is shaped by what is remembered and what is forgotten.Humans have the ability to remember the information they witness and learn and to which they are exposed. Everything in memory can affect human behavior, character, beliefs, and thoughts. In other words, memory is a factor that influences and shapes human life. It is more than a simple storage system; it is also a social, variable, and selective preservation center. Memory is not absolute and fixed but rather has a constructive function and is itself constructed at the same time. How events are remembered and transmitted, or what is forgotten and how much is forgotten, are all important factors in a person’s life, and memory involves all of these.Memory is a broad concept that extends beyond individual experience, leading to diverse perspectives on its nature. This study explores the concepts of cultural memory Jan and Aleida Assmann, collective memory by Maurice Halbwachs, and feminist&nbsp;&nbsp;memory by Red Chidgey. While individual memory is undeniable, individuals are argued to be inseparable from the collective whole. All thoughts that seemingly originate from the individual are actually repetitions and continuations of collective thought patterns. The sources of these thoughts become obscured over time, leading individuals to believe they possess independent thought when their minds are merely points of intersection for collective patterns. Therefore, individual memory cannot exist independently of collective memory.Culture heavily relies on the construction and transmission of memories. Cultural memory transcends generations, requiring only protective institutions for its reproduction. As individuals pass away, cultural memory endures, ensuring the continuity and permanence of transmission. Memory serves as a tool for addressing the past, allowing humans to explore how past societies remembered the events that had shaped their identities and how memories were constructed to create a collective present. The transformation of knowledge is inevitable, and accuracy is not necessary. As long as institutions such as museums, where cultural memory is constructed and historical information acquired, and other similar carriers persist, or as long as oral and written historical narratives are maintained, cultural memory will be reproduced. Historical narratives often present a single viewpoint, framing events as if there is only one truth and reality. Feminist theorists argue this limited perspective to be constructed through a predominantly masculine lens. Chidgey proposes that feminists should record and share the personal histories and experiences of women to democratize knowledge, challenge male dominance in historical records, and offer alternative narratives of the past. This allows for the construction of an alternative memory that counters the dominant collective memory. This feminist memory incorporates emotions and personal experiences, thus offering a more nuanced and inclusive understanding of the past.Persepolis, a film by Marjane Satrapi (2007), exemplifies this approach. Satrapi is a woman who witnessed the Iranian Revolution firsthand, and she narrates her personal experiences in the film, offering a critical perspective on the dominant collective memory of the event. This autobiographical film and its focus on one woman’s lived experience provide a rich case study for exploring feminist memory. As someone marginalized by the system, Satrapi has both internalized the memories of those around her and witnessed events firsthand. By conveying her personal memories and emotions, the film sheds light on the experiences of those who were disadvantaged by the revolution. In so doing, Satrapi records and shares her experiences with a broad audience,&nbsp;&nbsp;contributing to the construction of a feminist memory that stands in opposition to the dominant narrative.In conclusion, Persepolis serves as a powerful example of how film can be used to construct and transmit feminist memory. By offering a counter-narrative to the dominant collective memory, the film challenges traditional historical narratives and sheds light on the often-silenced voices of women.&nbsp;

Cinema as a Transmitter of Collective Memory:  Analyzing Persepolis Through the Lens of Feminist Memory

Nesibe

Cinema was initially introduced as a technological innovation and rapidly garnered widespread acceptance, evolving into a powerful art form and pervasive medium. Throughout its history, cinema has continuously adapted to technological advancements, with innovations involving such aspects as scenario, color, sound, wide screen formats, digitalization, 3D, and IMAX enhancing the narrative possibilities and transforming its formal characteristics. In the contemporary era, the ubiquity of the Internet and rise of digital streaming platforms have ushered in a transition toward a viewer-centric content consumptive experience, particularly as audiences increasingly shift from passive spectators to active users, driven by a heightened demand for interactive consumption most notably in the realm of gaming.Netflix as a digital streaming platform was traditionally regarded as avantgarde and experimental and also notably catapulted interactive film production into the mainstream in 2018. Marking a milestone in the evolution of interactive storytelling, Black Mirror: Bandersnatch (Slade, 2018) is a film based on the celebrated British dystopian science fiction series Black Mirror and stands out as the inaugural adult interactive film to have achieved mainstream recognition. Serving as the focal point of this research, the production diverges from traditional linear narratives by presenting choices to the audience, empowering them to shape the trajectory of the story. This work delves into the fundamental concepts of form and content in the realm of interactive films by utilizing Black Mirror: Bandersnatch as an illustrative case study.The nature of interactive storytelling necessitates distinct techniques compared to the linear narrative prevalent in traditional cinema. Interactive cinema employs non linear narrative techniques and has roots dating back to the 1960s, although its initial experiments in physical cinema spaces remained largely experimental until the digital era and the proliferation of the Internet. The contemporary integration of interactivity into cinema has been accelerated by streaming technology, video game interaction, participatory culture, and software-facilitated interactive narratives, sparking both practical and theoretical discussions.Cinema’s unique characteristics compelled early theorists to define its form, followed by realist theorists accentuating the significance of content. As another period of rapid aesthetic and technological transformation akin to the classical cinema discussions era is being witnessed, examining the structure of interactive films becomes paramount, given their capacity for multiple evolving stories. The contrast between the passive experience of traditional cinema and the active engagement inherent in interactive films underscores the necessity for adapting the concepts of form and content to this evolving cinematic genre.The primary objective of this study is to articulate the definitions of form and content within the domain of interactive films. To fulfil this objective, an exploration of the following key questions has been undertaken:1. What constitutes the form and content of interactive films?2. How is the relationship between form and content manifested in interactive films?This investigation delves into the structural dimensions of interactive narrative films, a novel paradigm in cinema. The inquiry commences by revisiting the classical dichotomy of form and content in cinema. Subsequently, the study navigates through the conceptualization of interactivity and the discernment of an interactive form. The pinnacle of this exploration involves a descriptive analysis of Black Mirror: Bandersnatch. Through this analysis, the study aims to define the film’s form and content and discern the intricate relationship between them. To accomplish this, the theoretical groundwork for the concept of interactivity is laid through a comprehensive discussion of form and content. Following this theoretical foundation, the film is subjected to an analysis by employing the specific categories of form and content. The analytical framework incorporates Hartmur Koenitz’s (2010, 2015) models for interactive digital narrative and protostory. The synthesis of this analysis culminates in a condensed presentation of the film’s form and content and is conveyed through illustrative figures.&nbsp;The study reveals the distinctive feature that enables the viewing of interactive films to lay in their unique form, which systematically presents content to the audience and facilitates access to all possible story alternatives. Koenitz’s (2010, 2015) definition characterizes this system as the software delivering content to the audience and the hardware on which the software operates. Notably, each of the scenes presenting all the possible story pathways were identified to constitute the content in interactive films.The study emphasizes that, without the specific order the system imposes for presenting these scenes, the content would be unintelligible and, consequently, nonfunctional. This underscores how the form in interactive films not only fortifies the narrative but also more fundamentally renders the narrative possible.Despite the limitations regarding the interactivity arising from a relatively low number of story alternatives in the analyzed film of Black Mirror: Bandersnatch, the study concludes that the production holds a significant place int the history of interactive cinema. This distinction stems from its capacity to present a dramatic narrative with diverse alternative storylines, thus contributing to the evolution and diversification of interactive storytelling within the cinematic landscape.&nbsp;

Form and Content in Interactive Film: An Analysis of  Black Mirror: Bandersnatch

Ramazan

Demet

A semiotic analysis of Tatlı Dillim (Ertem Eğilmez, 1972) reveals a narrative tapestry woven with profound meaning that transcends the surface-level plot. By delving into its embedded symbolism and visual cues, this study unlocks a window into the film’s sociocultural context. Semiotic analysis goes beyond understanding the apparent narrative by unraveling the underlying significance of the narrative’s symbolism and depths of meaning. Semiotic analysis offers a framework to perceive Tatlı Dillim not simply as entertainment but as a reflection of societal structures and ideologies. The film symptomatically portrays values and conflicts through its characters, presenting underlying themes that resonate with societal and cultural dimensions. The relationship between Ferit and Emine, a testament to overcoming traditional constraints in pursuit of modern aspirations, showcases the potential to bridge societal divides and conflicts, offering viewers a message of hope and positivity. When examined through a semiotic lens, Tatlı Dillim reveals the rich tapestry of societal complexities and the ideological conflicts that colored the era, reflecting various facets of society.Semiotics is the study of signs and their use in communication and delves into the intricate relationships and diverse applications of these symbols. For an object to function as a sign, it must stand in for something else and be imbued with meaning. By deciphering the codes embedded within these signs, semiotics seeks to unlock the collective unconscious of individuals. Crucially, this connection between the signifier (the physical form) and the signified (its conveyed meaning) empowers the audience to actively construct their own interpretations, weaving new layers of meaning into the cinematic tapestry.Understanding and analyzing the unique language of cinema requires that one master both the specific characteristics of its visual and narrative forms. Decoding the intricate codes woven throughout a film is essential to unearthing the codes’ psychological, sociological, cultural, and aesthetic depths. Beyond simply recognizing these codes, semiotics investigates how they are presented within a film’s broader context by exploring the interconnectedness of each element. While visual storytelling in cinema hinges on the power of images and their arrangement, form, and effects, this form of storytelling is enriched and further conveyed through the interplay of sound, speech, and music. The semiotic analysis of cinematic narratives finds its roots in the 1960s. During this period, France witnessed the blossoming of cinema semiotics (i.e., film semiotics) and was largely fueled by applying literary narrative theories to film analysis.Symbols and symbolism play a significant role in Tatlı Dillim, enriching its thematic exploration. Ferit’s return from Istanbul to the village embodies the dichotomy between the city’s modernity and the village’s traditional ways. Within these contrasting settings, symbolic elements further highlight societal and cultural differences. Character dynamics reveal the internal conflict between modern and traditional values, with Ferit and Emine’s personal transformations illustrating the impact of this struggle. Language and expressions become markers of social class and cultural background, while dialogues serve as a semiotic analysis of communication within the film’s social milieu. Engaging with the broader themes of modernization and the societal context, the film delves into issues such as gender roles and family structures. Music and sound effects heighten the emotional atmosphere, particularly in romantic scenes.The top-down control and guidance, characterized by the upper-class wielding influence through state-dictated political strategies, regulations, and innovations, is often dubbed as ‘modernity from above’. Tatlı Dillim is steeped in the historical context of its era and explores themes such as the urban-rural divide and wealth-poverty disparity. While not explicitly invoking modernity from above as a term, the film’s transitions between city and village and the dynamics between figures representing modern urban life and those symbolizing traditional rural life subtly reflect a top-down modernization process. The analysis highlights how powerful characters influence and even transform individuals, shaping the narrative style of Turkish cinema. By confronting the audience with the realities of the period, the film conveys the sentiments and societal experiences of its time, portraying and critiquing the echoes of social transformation. In conclusion, this semiotic analysis of Tatlı Dillim has revealed its significance as a work that meticulously uses symbols, characters, and visual elements to unveil the underlying sociocultural meanings. This analysis challenges one to appreciate the film not just as a romantic comedy but also as a reflection of the societal dynamics and ideologies of its time. This semiotic analysis has therefore provided a valuable framework for comprehending such works and gaining a deeper understanding of the historical context they encapsulate.&nbsp;

Analyzing the Film Tatlı Dillim in the Context of Cultural  Semiotics

Duygu

Despite the absolute certainty of death for every living thing on our pale blue dot, humans often avert their gaze from its inevitability. The thought of death, with its extinction, exhaustion, and anxiety-provoking finality, is simply too fearful to confront. Thus, people continue their daily lives, ignoring death’s existence while simultaneously making future plans and striving to leave an unforgettable mark on the world. This contradictory approach of ignoring death while seeking immortality is a curious characteristic of the human species.However, not everyone chooses to ignore death’s call. A significant number of individuals actively choose to end their own lives, drawn to suicide for a multitude of complex and subjective reasons. This phenomenon has captivated the attention of numerous disciplines from psychology and sociology to philosophy and theology, each seeking to understand the motivations behind this act.Ever eager to unravel the human mind, psychology has been particularly active in this field. Through research and various theoretical frameworks, psychologists have attempted to understand what drives individuals to take the figurative “sickle” from the Grim Reaper’s hands and walk towards death (Baudrillard, 2001, p. 258), meticulously studying genetic and environmental factors that might influence suicidal tendencies and developing strategies to prevent self-harm. The Three-Step Theory (3ST) of suicide serves as a useful framework for analysis and posits that suicide unfolds in two distinct stages: ideation and attempt. Klonksy and May (2015, p. 116) argued that the initial stage hinges on the potent combination of pain and despair and that both must coexist for suicidal thoughts to take root. The second stage, known as commitment, signifies&nbsp;&nbsp;a crucial shift – the disappearance of the will to survive. When the individual’s connection to life severs, and the pain-despair cocktail intensifies, the transition from ideation to attempt becomes more likely.Albert Camus, whose philosophical musings form the backbone of this study, took a firm stance against suicide. For him, philosophy boils down to a singular, existential question: Is life worth living? In his iconic work, The Myth of Sisyphus, Camus (1942) answered this question through the lens of the absurd man. This individual, unwilling to compromise his authenticity, grapples with the inherent tension between hope and death with an open mind. He readily acknowledges his estrangement from both himself and the world, embracing the limitations of human knowledge and finding solace in acceptance. He lives fully, aware of the consequences of his actions, and chooses to continue living even in the face of life’s inherent meaninglessness, a concept Camus described as the absurd. According to him, embracing this absurdity is the key to genuine living, and humans are, by nature, predisposed to this incompatibility.To delve deeper into these ideas, this study focuses on the 2016 film Lütfi, directed and written by Cahit Kaya Demir. The film narrates the story of Lütfi, a man haunted by the loss of his wife 12 year prior and consumed by a profound lack of the will to live. He repeatedly attempts suicide, only to be thwarted by seemingly mundane circumstances. One day, Lütfi makes a pact with Salih, his apartment building’s caretaker, to end his life. This agreement brings Lütfi a strange sense of peace, and he begins to rediscover joy in life’s simple moments. However, when Salih arrives to fulfill their pact, Lütfi, fueled by an unexpected surge of survival instinct, fights back.Through a detailed analysis of Lütfi’s suicide attempts, the study utilizes Martin Heidegger’s hermeneutic principle, a cornerstone of the phenomenological approach, to explore the film through the lens of Camus’ absurd man and the three-step suicide theory. By examining Lütfi’s journey, the study seeks answers to profound questions such as can an individual teetering between life and death embody Camus’ notion of the absurd man, can accepting life’s inherent meaninglessness be liberating, and how does this acceptance impact an individual’s experience of life itself. Ultimately, the analysis will test the applicability of the three-step theory within the film’s narrative, shedding light on the complex inner world of someone confronting the abyss.&nbsp;

All the Days of a Dull Life: The Film Lütfi in the Context of The  Myth of Sisyphus and the Three-Step Theory of Suicide

Özgü

Interview with Derviş Zaim:  “If You Can Tell Your Own Story, You Are Alive”

Batu

Gazi’s Cinema: Atatürk’s Cinema(tic) Adventure

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

@JOURNAL_BOX_FEATURED

@JOURNAL_BOX_MOSTREAD

Filmvisio is an online, open-access, peer-reviewed film studies journal published twice a year (June and December) by the Faculty of Communication of Istanbul University. The journal’s primary objective is to investigate cinema as an art form and a medium of mass communication focusing on its ethical, political, philosophical, artistic, social, and technological dimensions. The journal includes research articles, review articles, book, film, and TV series reviews, festival and conference reports, and interviews. No processing fee or publication fee is charged for the articles sent to the journal.

Şükrü

Prof.

@METRIC_VOLUMES

@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Filmvisio

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

Editorial Management Board Member

Editorial Relations Manager

Editorial Assistant

Publicity Manager

Editorial Board Member

@INFO_TAB_BOARDS

Filmvisio is an online, open-access, peer-reviewed film studies journal published twice a year (June and December) by the Faculty of Communication of Istanbul University. The journal publishes intercultural and interdisciplinary research on cinema with historical, theoretical, and critical perspectives. The journal’s primary objective is to investigate cinema as an art form and a medium of mass communication focusing on its ethical, political, philosophical, artistic, social, and technological dimensions.The journal accepts articles with diverse research methodologies and theoretical perspectives from the humanities, social sciences, and arts. The journal includes research articles, review articles, book, film, and TV series reviews, festival and conference reports, and interviews. In addition, the journal accepts articles from other audio-visual media and screen cultures, including television and digital media.

Aim and Scope

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication.PlagiarismSubmitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%.Double Blind Peer-Review <div style="text-align: justify;">After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.</div>

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive.The guidelines of &#65279;<a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a>&#65279; and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

Filmvisio is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.Each manuscript is reviewed at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

Filmvisio adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.- Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.- The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.- The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.- Research participants should participate in the research voluntarily, not under any coercion.- Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.- The independence of research must be clear; and any conflict of interest or must be disclosed.- In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.- If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.- In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2BFB9E053ECB46F8B2A7E48731C24C2C" target="_blank">Copyright Agreement Form.</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment. When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for double-blind peer review evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.  Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor in chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.-    Does the manuscript contain new and significant information?-    Does the abstract clearly and accurately describe the content of the manuscript?-    Is the problem significant and concisely stated?-    Are the methods described comprehensively?-    Are the interpretations and consclusions justified by the results?-    Is adequate references made to other Works in the field?-    Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

Manuscript is to be submitted online via <a href="https://dergipark.org.tr/en/pub/filmvisio" target="_blank">https://dergipark.org.tr/en/pub/filmvisio</a>. They must be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. research article, review etc.) and including information about the manuscript (see the Submission Checklist), <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/65E92C497D0B4188A5681FD2CAC27188" target="_blank" style="font-size: 10pt;">title page</a>, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9AE26420622A449F9A72805EF6E7D4E9" target="_blank" style="font-size: 10pt;">author form</a>, and <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/04E6FBB287C04106B1FABEB37B4C6407" target="_blank" style="font-size: 10pt;">Copyright Agreement Form</a> that has to be signed by all authors.• Research articles and review articles (including endnotes and references) should be in the range of 5,000-10,000 words. Book, movie, and TV series reviews should be between 750-1,500 words. Endnotes should be numbered in the text and placed at the end of the article, before the references. Abstracts should be between 180-300 words (with 5 keywords). Extended abstracts are not required for articles in English.• The manuscripts should be in A4 paper standards: having 2.5 cm margins from right, left, bottom, and top, Times New Roman font style in 12 font size, and line spacing of 1.5. Direct quotations of more than 40 words, should be written in 11 font size and 1.15 line spacing, 1 cm. The main article file should not contain author information due to the double-blind peer review.• A title page including author information must be submitted together with the manuscript. The title page is to include a fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone, and fax number of the author(s) (see The Submission Checklist).• Tables, graphs, and figures should be given with a number and a defining title.• Authors are responsible for all statements made in their study submitted to the Journal for publication.

Author Guidelines

Filmvisio complies with APA (American Psychological Association) style 7th Edition for referencing and citations. For more information: American Psychological Association. (2010). Publication Manual of the American Psychological Association, Seventh Edition. <a href="https://apastyle.apa.org/products/publication-manual-7th-edition" target="_blank">https://apastyle.apa.org/products/publication-manual-7th-edition</a> In-text CitationsCitations must be indicated with the author’s surname and publication year within the parentheses. If more than one citation is made within the same parentheses, separate them with semicolons (;).Examples:• Citation with one author(Laine, 2007, p. 73)• Citation with two authors(Mathijs &amp; Mendik, 2008, pp. 99-102)• Citation with multiple authorsFirst citation in the text: (Fox, Lapate, Shackman, &amp; Davidson, 2018) Subsequent citations: (Fox et al., 2018)• More than one citation(Bould et al., 2009; Roberts, 2006)• Citation with no author(“In praise of…”, 2022)REFERENCE LIST• Authored BookPerkins, V. F. (1993). Film as film understanding and judging movies. Da Capo Press.• Book with Multiple EditorsCollins, J., Radner, H., &amp; Preacher Collins, A. (1993). Film theory goes to the movies. Routledge.• Edited Book ChapterRead, J. (2003). The cult of masculinity: From fan-boys to academic bad-boys. In M. Jancovich, A. L. Reboll, J. Stringer, &amp; A. Willis (Eds.), Defining cult movies the cultural politics of oppositional taste (pp. 54-70). Manchester University Press.• Journal ArticleRogers, A. (2019). Screen practices and Hollywood cinema in the 1930s. Screen, 60(2), 197-223. <a href="https://doi.org/10.1093/screen/hjz008" target="_blank">https://doi.org/10.1093/screen/hjz008</a> • Translated WorkTruffaut, F. (1978). The films in my life (L. Mayhew, Trans.). Simon &amp; Schuster.<a href="https://doi.org/10.1093/screen/hjz008"></a>  • DissertationLupher, S. (2020). From women’s cinema to women’s horror cinema: Genre and gender in the twenty-first century (Order No. 28845183) [Doctoral dissertation, University of Pittsburgh]. ProQuest Dissertations and Theses Global.• Conference SessionDavidson, R. J. (2019, August 8-11). Well-being is a skill [Conference session]. APA 2019 Convention, Chicago, IL, United States. <a href="https://irp-cdn.multiscreensite.com/a5ea5d51/files/uploaded/APA2019_Program_190708.pdf" target="_blank">https://irp-cdn.multiscreensite.com/a5ea5d51/files/uploaded/APA2019_Program_190708.pdf</a> • Online DictionaryAmerican Psychological Association. (n.d.). Affect theory. In APA dictionary of psychology. Retrieved April 24, 2022, from <a href="https://dictionary.apa.org/affect-theory" target="_blank">https://dictionary.apa.org/affect-theory</a> • Online Magazine/Newspaper ArticleLee, B. (2022, January 20). Sundance 2022: Films and shows to look out for at this year’s festival. The Guardian. <a href="https://www.theguardian.com/film/2022/jan/19/sundance-2022-films-and-shows-to-look-out-for-at-this-years-festival" target="_blank">https://www.theguardian.com/film/2022/jan/19/sundance-2022-films-and-shows-to-look-out-for-at-this-years-festival</a> • Magazine/Newspaper/Website article with no authorIn praise of European cinema. (2022, December 7). Little White Lies. <a href="https://lwlies.com/articles/in-praise-of-european-cinema/" target="_blank">https://lwlies.com/articles/in-praise-of-european-cinema/</a> • Website/Blog PostBordwell, D. (2019, November 29). Women in charge: Highlights from Torino [Web log post]. <a href="http://www.davidbordwell.net/blog/2019/11/29/women-in-charge-highlights-from-torino/" target="_blank">http://www.davidbordwell.net/blog/2019/11/29/women-in-charge-highlights-from-torino/</a> • FilmNolan, C. (Director). (2014). Interstellar [Film]. Legendary Pictures, Syncopy, Lynda Obst Productions.• TV Series EpisodeWeddle, D., &amp; Thompson, B. (Writers), &amp; Mimica-Gezzan, S. (Director). (2019, November 15). Into the abyss (Season 1, Episode 5) [TV series episode]. R. D. Moore et al. (Executive Producers), For all mankind. Tall Ship Productions, Sony Pictures Television.• Online VideoThe Cinema Cartography. (2022, December 1). The 30 Greatest Films [Video]. YouTube. <a href="https://youtu.be/S-B30QlAvDQ" target="_blank">https://youtu.be/S-B30QlAvDQ</a> • TweetSundanceFilmFestival. [@sundancefest]. (2022, December 28). Of the 101 feature films so far announced as part of the 2023 #Sundance Film Festival program, more than half are directed or co-directed by women. Check out our detailed guide below! [Thumbnail with link attached] [Tweet]. Twitter. <a href="https://twitter.com/sundancefest/status/1607904209780736000" target="_blank">https://twitter.com/sundancefest/status/1607904209780736000</a> • PodcastFennessey, S., &amp; Dobbins, A. (Host). (2022, December 6). The top 5 movies of 2022 [Audio podcast episode]. In The Big Picture. The Ringer. <a href="https://www.theringer.com/2022/12/6/23495887/the-top-five-movies-of-2022" target="_blank">https://www.theringer.com/2022/12/6/23495887/the-top-five-movies-of-2022</a> • Song/TrackNirvana. (1991). Smells like teen spirit [Song]. Nevermind. DGC.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/9748A0D180714E4DA4DB6870D34C6E95" target="_blank">Copyright Agreement Form</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/ECD54A1422F7468CB5383A385CB08AB9" target="_blank">Author Form</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/633CFBA864D949F6B0054C292E3EE3FD" target="_blank">Title Page</a>

Ensure that the following items are present:Cover letter to the editor<ul type="disc"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6004B58292D54BA8904DD595359AA38F" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/3FCB95CBA1494C90BE6E171EB4596D7D" target="_blank">Author Form</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F07C3C5CD49B4AF489037FEBFAF6E11C" target="_blank">Title page</a><ul type="disc"> <li>The category of the manuscript</li> <li>The title of the manuscript both in Turkish and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors</li> <li>Grant support, Conflict of interest, and Acknowledgement (if exists)</li> </ul>Main Manuscript Document:<ul type="disc"> <li>Important: Please avoid mentioning the author (s) names in the manuscript.</li> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts both in Turkish  (180-300 words) and in English  (180-300 words)</li> <li>Keywords: 5 words in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for articles in Turkish) </li> <li>Body text</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul>

E-ISSN	2980-3101
Period	Biannually
Editor	Şükrü Sim
Filmvisio is an online, open-access, peer-reviewed film studies journal published twice a year (June and December) by the Faculty of Communication of Istanbul University. The journal’s primary objective is to investigate cinema as an art form and a medium of mass communication focusing on its ethical, political, philosophical, artistic, social, and technological dimensions. The journal includes research articles, review articles, book, film, and TV series reviews, festival and conference reports, and interviews. No processing fee or publication fee is charged for the articles sent to the journal.

Filmvisio

CURRENT ISSUE

The Relationship Between Power and Cinema in Türkiye in the 1980s: The Influence of the 1980 Coup d’État

The Construction of Cinematic Space in Leviathan

Cinema as a Transmitter of Collective Memory: Analyzing Persepolis Through the Lens of Feminist Memory

Form and Content in Interactive Film: An Analysis of Black Mirror: Bandersnatch

Analyzing the Film Tatlı Dillim in the Context of Cultural Semiotics

All the Days of a Dull Life: The Film Lütfi in the Context of The Myth of Sisyphus and the Three-Step Theory of Suicide

METRICS

SUBSCRIBE

CONTACT