Osakue

Osakpolor

Framing Gender Issues in Selected Nollywood Narratives

Mustafa

Prof. Dr.

Watching Ramadan Drama and Egyptians’ Preference for Video Streaming Services Over Traditional Television: A Survey Study

Elif

Tragedy, in its most general definition, is the story of the fall of one or more heroes who suffer destruction as a result of events full of pity and fear. The subject of tragedies, which are known to have emerged in Ancient Greece in the late sixth and fifth centuries BC, is generally based on Greek myths and important historical battles. In this respect, tragedy, especially Ancient Greek tragedy, is an art that has a certain form and essentially depicts a certain type of theatre, although it has undergone much transformation in later periods.A tragic hero may sometimes explain that the current order is becoming obsolete, and that he and what he represents in himself are disappearing with that order, as in Ancient Greek tragedy -perhaps King Oedipus. In another age, the tragic hero could only reveal the dilemmas of unadapted daily life practices. Whether we call it tragedy as an art form or ‘tragic’ to describe a ‘painful’ event, tragedies can, under all circumstances, guide us in today’s search for meaning. In its beginnings, it was essentially the tragic art performed on stage by actors in the theatre; it also included other fictional arts such as literature and cinema. A tragic event, the tragic hero and his actions, and the tragic situation that arises as a result of these actions constitute the general framework of tragic art. The form of tragedy mentioned by Aristotle in Poetics has transformed over time. Thanks to the rediscovery of Ancient Greek culture, especially with the Renaissance movements in Europe, myths and tragedies were rewritten and staged. Although some basic features such as themes involving pain and fear that come to mind when tragedy is mentioned remain the same, the tragic art form has changed throughout history. For example, Shakespeare, the most important tragedian writer of English literature, occupied a unique position all over the world with the plays he wrote and staged during his time. In the period known as Elizabethan tragedies, the subjects of the plays were political conflicts, wars, and emotions such as revenge.&nbsp;Especially brutality, blood, and death are the most basic elements of these plays. In this period, although writers wrote plays in accordance with the basic form of tragedy, they also went beyond the rules and created their own unique motifs (Nutku, 1990, pp. 54-55).In dramas that can be considered modern tragedies or that are claimed to contain tragic elements, weak and “human beings who try to protect themselves and their values against the pressure of their environment and environmental conditions, who resist and even struggle for this purpose” are substituted for heroes with noble and superior characteristics. “Noble heroes have been replaced by incompetent victims. This person cannot see the truth, cannot change his situation, and cannot control his own weaknesses. He feels small, weak, abandoned, and sometimes guilty” (Şener, 2016, p. 115).In this research, the characters in the movie The Banshees of Inisherin (2022), written and directed by Martin McDonagh, were examined using the interpretive content analysis method by applying modern tragedy theory. Interpretive content analysis is the method in which inferences are described by using the existing messages of the content in question as evidence (Erdoğan &amp; Uyan-Semerci, 2023, p. 213). Explicit and implicit messages in the movie, which is the sample of the research, were interpreted by accepting them as the research object. In the literature part of the research, the basic characteristics of Ancient Greek tragedy, which is the starting point of the art of tragedy, were first examined, with the aim of understanding modern tragedy theory and revealing modern tragic character traits. Then, according to modern tragedy theory, the basic elements of the tragic character were reveale.

Modern Tragic Characters in The Banshees of Inisherin

This study focuses on Todd Haynes’s film Velvet Goldmine (1998), which establishes intertextual connections between fictional characters and real historical figures, as well as between fictional and real time-space. This study reveals the boundaries created in the ontological field by legitimate categories of identity based on various queer experiences and aims to explore, through the path opened up by the film’s narrative, the possibilities of re-reading the official history of real life, which is accepted as reality, by disrupting its stability through a wide variety of methods such as pastiche and bricolage.In this respect, this study introduces some questions into current discussions. When fictional characters, cinematic time and space, are intertwined with real people, time and space, is erasing the boundaries between reality and fiction effective enough to imagine different ways of doing/perceiving things in our everyday lives, and thus to minimise the violence of ongoing practices against less privileged groups, given that they are always subjected to some degree of violence in legitimate historical narratives? Is this popular erasure of boundaries in any way related to consumer culture? Is it possible to reread the body, temporality, and spatiality with the emergence of new processes of meaning and the disruption of processes of identity acquisition to propose an alternative reading of history? Can it be said that cinema, as an art, has the power to transform existing social arrangements by offering different visions of life?The significance of this study, unlike previous studies on the same topic, is twofold. First, it argues that the film, as an artistic expression, can provide space for discussions about expanding the boundaries of ontological fields that provide legitimate expression for less privileged social groups by creating an opportunity to reread history with different and multiple temporalities and spatialities, thus overturning the boundaries of monolithic fixed categories. Secondly, it underlines that the erasure of all boundaries can easily be abused in the consumerist capitalist culture of our increasingly globalised world. The&nbsp;need for a rapid and abundant production of meanings in this context can also lead to an equally rapid consumption of these meanings, robbing concepts of potentially emancipatory meanings and reducing them to a mere stagnant box. Therefore, in the process of seeking a solution to the violence suffered by less privileged social groups, it can, on the contrary, find itself as the main cause of this violence.In this regard, the study first includes the history of queer cinema and the changes it has undergone until today, and then focuses on the film’s unique narrative language by touching on the places where the narratives of Todd Haynes’s cinema intersect with the history of queer cinema. The part of the study that is an intertextual analysis of Velvet Goldmine is framed and examined by the quote “Time, places, people, ... they’re all speeding up,” which the character Mandy Slade says to the film’s main character, Brian Slade, on the night of their wedding, in reference to the acceleration of time, places, and people in our everyday lives. The study does so to underline that some ‘strange’ people are chosen to cope with the ‘evolutionary paranoia’ of the age ‘through their art’, and emphasises that these people use their art to cope with such speed. The reason why the narrative of the film is expressed as queer is that when talking about a specific temporality in the film, it is not possible to talk about a single and clear time, and this also applies to people and places, so that it becomes increasingly difficult to fix, homogenise, and clarify any time, person, or place. Such a narrative, in which identities cannot find a certain fixed place for themselves, is queer. The discussion on queer theory and queer temporalities and spatialities beyond the normative time-space that this theory allows to emerge is also included in the second part of the study, to the extent that it interacts with the cinema of Todd Haynes.This study uses an intertextual approach to analysis. In her work titled Revolution in Poetic Language, Kristeva (1985) examines the power of language to position and establish ontological domains, noting that existing social arrangements are established and maintained through language. She also emphasises that the stability of social arrangements can be overturned by the discovery of the destructive possibilities contained in language. Hebdige (2004) stresses that when the same signs are placed in a different whole from their current position or in different positions within the same whole, the relationship between the object and the meaning also changes. Kristeva makes such a shift possible with the concept of intertextuality, which she developed in the mid-1960s on the basis of the highly edifying ideas of Ferdinand de Saussure and Mikhail Bakhtin.&nbsp;

An Intertextual Seam Beyond the Norm: Subversion of the Reality-Fiction Dichotomy and Alternative Time-Space Possibilities in Velvet Goldmine

İbrahim

Res. Assist.

Music is a fundamental element that reflects the culture of a society. It has a significant impact on social behaviours, consumption patterns, and societal and historical habits. With this intrinsic structure, music creates both producers and consumers. The sociocultural development of individuals and groups in society, their economic status, class, religion, and moral attitudes are determinants of their music consumption. The importance of music within social structures emerged as a phenomenon long before the science of modern sociology was established, even in ancient times. Notably, figures like Pythagoras, Plato, Aristotle, Al-Kindi, Al-Farabi, and Ibn Khaldun offered various views on the importance of music. Modern sociology also places great emphasis on the subject of music, particularly those by Max Weber and Georg Simmel.&nbsp;However, the most well-known name in the field is Adorno. Being both a musician and a sociologist, he made significant contributions to the sociology of music. According to Adorno, there are light and serious types of music in the contemporary art world. Light music is a type of music that calculates market expectations, is shaped by the Culture Industry, and is designed for consumption, ignoring social inequalities. Serious music, on the other hand, is aware of societal issues, allows for dialectical development in resolving these issues, and historically highlights artificially produced dissonance and social inequalities. Examining and analysing the economic infrastructure of music and the intersection points between social structures and music is one of the primary tasks of the sociology of music.The era in which the example film is set, the late 1980s to early 1990s in Turkey, is known as the era of “polished images,” in which false images are created. During this period, false images are poured from above, intertwining with reality. Everything is given an image, and all these images are offered for consumption. The values, stars, and images created during this new era of Turgut Özal and his party, ANAP, are produced in integrated facilities. During this time, media outlets, particularly television, play the most critical role in maintaining the organized structure of interests between the state and capital.The purpose of this study is to examine how Adorno’s concept of light music finds its place in society through cinema, particularly mainstream commercial cinema. The aim is to show what the use of music in films corresponds to in social life. In this regard, the selected example film, Prestij Meselesi (2023), will be analysed. This study employs a mixed methodology using critical discourse analysis and sociological analysis approaches. The critical discourse analysis approach developed by Wodak and Fairclough will be used. The sociological analysis approach allows for evaluating films within the framework of social sciences and sociology criteria. In this approach, films are examined as cultural and artistic products of society.When analysing the chosen example film, Prestij Meselesi, it is found that the type of music addressed in the film is kitsch music. In the film, music is not an art form but a tool used by aspiring singers from low-income social classes to become famous. The arabesque music genre in the film symbolises the individual liberation of many singers aiming for fame. When looking at the photos of famous names on the wall in the film, it is seen that they are singers performing arabesque/fantasy or pop songs. It is possible to suggest that in the context of the film’s discourse, the ideal music genre is this type of music.The critical sociology of music provides significant data in analysing the Prestij Meselesi film. The music industry is crucial for ensuring and reproducing the continuity of the consumption-oriented societal structure under capitalist market conditions. As Adorno stated, the advanced capitalist societal structure, which is based on inequalities, requires certain tools to maintain its continuity. The existing society’s continuation is ensured through the Culture Industry. The music industry is also a significant branch of the Culture Industry. The music industry is an important actor within the Culture Industry in the film Prestij Meselesi. The arabesque/fantasy music, which is the subject&nbsp;of the film and the sample of this study, is a classified part of the identities of some segments of society.There are many phenomena in mainstream films like Prestij Meselesi that are suitable for analysis through various theories. In this research, the music in the sample film and the ways in which these music pieces are presented are examined within the context of Adorno’s critical music sociology. However, it is also possible to conduct feminist, psychoanalytic, historical, and semiotic analyses of the Prestij Meselesi film. More critical studies in mainstream cinema will contribute to the academic literature on cinema from different perspectives.&nbsp;

Analysis of the Music of Prestij Meselesi in the Context of Adorno’s Critical Sociology of Music

Savaş

Assoc. Prof. Dr.

Certainly, the entirety of the collaborative production processes involving human and artificial intelligence could be a focal point of this article. However, this article is limited to the context of the new configuration of the performer. It is important to understand the performer because today they are a performer, and tomorrow they may be a director, producer, screenwriter, and all other roles. We can begin by developing an idea on the most basic subject of the film industry. A performer is much more than a human being; it is a human creation. Hall (2017), in his definition of cultural representation, starts from the expressions “imagining” and “something else taking the place of something else” and brings the word to the work of intention. “Taking the place of” is meaningful not in terms of social position but in terms of representation. The Augmented Performer is not a replacement for the original performer and human being. They are the ones who will become performers alongside human beings. However, they will inevitably take the place of the human beings they represent. Because their purpose is to evoke, imply, intend, and take the place of what they intend; this is the essence of representation. So, how can this performer, who will replace the human being in the dimension of representation, break the boundaries of the aesthetics of&nbsp;origin with what kind of creation? Because it has been understood that the aesthetics of origin refers to the social capital value of the historical, social, cultural, economic, and racial contexts of our identities. Artificial intelligence, created by humans, appears to be rootless. However, within the framework of a creation myth, anyone can have an aesthetic of origin.In relation to this theoretical background, the originality of this article lies in addressing the performer effect on visual thinking skills in addition to the artistic and communicative debates on AI’s visual thinking skills. Moreover, it considers this within the aesthetics of origin of a trans-aesthetic and trans-identity structure, interpreting augmentation as a dimension of excess that marginalized identities use as a compensation system. Marginalized hybrid identities transcend the absence to compensate for the double absence experienced. Augmentedness (augmented reality, augmented human, and augmented aesthetics) ‘sophisticates’ the cinematic screen as the experience of excess of the new performer created by human-artificial intelligence integration. This aesthetics of marginalized identity is at the root of this article’s problem identification. While social inequalities at the center of the famous ‘sustainability’ struggle threaten the future for the entire world, we have no reason to believe that further and irreversible divergences/inequalities will not result from the continuous reproduction of the essence and origin that humans have sufficiently fueled with the power of representation by the ‘great thinker’ artificial intelligence, thought to be independent of space, identity, and ideology. Artificial intelligence, which thinks visually at unpredictable speeds and in unpredictable quantities with almost unlimited human data, works in films as popular consumer commodities, as an ideological performer that mainly perpetuates and magnifies inequality, despite being the most likely force to have a restorative effect on humanity’s problems and inequalities. Moreover, AI can also be identified as the apparatus of a hegemonic performer by transforming into a teleological action directed by what Habermas (2019) describes as instrumental reason. In short, in a world where a marginal identity will envelop cinematic screens, the proposal of computers as cinematic actors/performers (CACA), intended to encompass augmentation, aesthetics of origins, and trans-performances as new variations of extremism, is the point of discussion of this article.The last word in this work, Augmented Absence, is about a vast Augmented Absence. Something that does not exist does not exist when it is perceived as existing by an excessive amount of images. It is, therefore, possible to search for absence in all&nbsp;augmented planes. This is the possibility of a system of compensation and the crisis in which the post-modern subject and the characters of post-humanistic cinema collaborate. These characters, with all the images they put in our eyes, do not remind us of presence or draw attention to the image; they actually make us forget absence. As a means of ‘putting us to sleep,’ cinema gives its agents the task of ‘making us forget.’ For this, a sleepwalking audience is needed. The reason why it is called a sleepwalking audience, not a sleeping one, comes from the fact that sleep is a state of inaction. However, a subject must act but forget the entire frame of the absence of its action, fabricate gaps in the time left to absent, and fill the memory of this gap with the illusion of the lived experience of absent things, absent places, and absent realities.&nbsp;

Degeneration of Character, Aesthetics of Origin, and Augmented Absence in Posthuman Cinema

Hatice

When used as an effective tool in therapeutic processes, films can contribute to individuals’ emotional and mental healing journeys. Various theories stemming from the fields of cinema and psychology suggest that films have several positive effects on an individual’s therapeutic journey. This article predominantly focuses on the effects of cinema on therapeutic processes within the context of Cognitive Film Theory and Learning Theory. According to Münsterberg, cinema transcends the forms of the external world and aligns with the shapes of the inner world while telling human stories, constructing a new reality by stimulating the viewer’s attention, memory, imagination, and emotions. In this context, the film-watching experience enhances the dimensions and depth of the cinematic experience by directing the viewer’s attention to the screen while simultaneously stimulating memory and emotions. The music and visual elements used in the films amplify the viewer’s emotional responses and support the process of identifying with the characters. The film-watching experience can transform from an external observation to an internal reflection. Additionally, individuals in the healing process can experience a guiding experience against the feeling of being lost by witnessing the stories of others or by being presented with a positive perspective&nbsp;through the film-watching experience. These experiences can help alleviate feelings of loneliness and restore hope in emotional healing processes. Films also allow viewers to experience emotional journeys by abstracting them from time and space, triggering their imagination, which is not independent of past experiences (Tekin, 2011, s. 2-5). In this way, films enable individuals to bring repressed emotions in the subconscious to the surface, allowing them to develop emotional expression and coping skills. Exploration and expression of these emotions are crucial for the positive progression of therapy. Prescribed film-watching assignments and accompanying therapy sessions conducted with professional guidance encourage the externalisation of complex emotional experiences existing in individuals’ inner worlds and help to discover coping mechanisms with emotional experiences. According to Dr. Wolz, films can serve as a promising method for individuals in coping with difficulties. The article emphasises the necessity of considering psychological and aesthetic dimensions together to understand the relationship between the viewer and reality in the film-watching experience. The effects and application areas of the films in therapeutic processes are also examined in detail. Although many therapists use films informally with clients, films are not yet widely used as a developed therapeutic technique. The lack of studies on cinematherapy and the fact that many therapists do not fully understand how to use films in therapy could be the sources of this. Therefore, cinematherapy needs a handbook, supported by empirical data, with studies that have been applied and proven to yield positive results. This article focuses on three different usage forms mentioned by Dr. Wolz, who has signed recent studies on cinematherapy: modelling, internal exploration, and emotional relaxation. The advantages and effects of cinematherapy compared with older therapeutic methods like bibliotherapy are also discussed. Various studies have shown that films have positive effects on mental health and awareness levels. Studies in Turkey reveal that including cinema films in therapeutic processes yields positive results. These findings strengthen the empirical foundations of cinematherapy and provide a significant resource for the use of films as part of the healing process. Studies conducted at Istanbul Erenköy Mental and Nervous Diseases Training and Research Hospital in Turkey also show that including cinema films in therapeutic processes yields positive results. In addition, an example is the MediCinema association, which supports cinematherapy practises by providing cinema rooms to hospitals. Such studies show that cinema can be used as a supportive tool in therapeutic processes and has positive effects on different disease groups. For instance, a study on gynaecological cancer patients revealed that cinema helps improve patients’ psychological health. Similarly, studies on alcohol addicts and older adults have shown&nbsp;that cinema is an effective tool in therapeutic processes. These findings strengthen the empirical foundations of cinematherapy and provide a significant resource for the use of films as part of the healing process. In South Korea, the examination of approaches to social issues through the media is also important. In particular, the potential of addressing issues like workplace and school bullying in series and films to help victims heal, hold onto life, and increase societal awareness of these issues is discussed. Additionally, productions in the “healing” category raise awareness of healthy relationships and lifestyles by focussing on mental health topics. The accessibility and ease of use of films as visual materials reveal the potential of cinematherapy to play an important role in long-term mental healing processes. The use of films is highlighted as a more attractive option because it reduces the necessity for clients to read long written materials. Cinematherapy can transform the commonly practised activity of watching films into a positive therapeutic tool. Films are emphasised to have a stronger impact than other art forms. In conclusion, cinematherapy is an important tool that can contribute to an individual’s emotional healing process. This study is a significant step towards understanding the therapeutic value and application areas of cinematherapy.

Cinematherapy: Cinema’s Role in the Therapeutic Journey

Berceste

Tracing Women’s Existence through Documentaries: En Camino - México, Machismo and Clouds

Marc

The West African Struggle for History: Izu Ojukwu’s Attempt to Portray Hausa Queen Amina

Tuba

Interpretation of Multiple Personality Perception in Women through the Cinematic Universe

Engin

Generating Cinema Knowledge

Şükrü

Hüseyin

Toward a Totalitarian Techno-Slave: Daft Punk’s Electroma

Floribert Patrick

Cinema Occultism as Pseudo-Realism: Using Achille Mbembe’s Concept of “The Double” to Rationalize Nollywood Film Audiences’ Fetish Mindset

Aleyna

Considering film as a way of thinking requires unravelling the symbols that remain hidden both within the narrative and within the aesthetics specific to the film; these meanings provide some information about the essence of the text and, on the other hand, the essence of the human being who is its creator. Mortal man has questioned the meaning of his existence throughout history, made himself immortal by producing various outputs in order to eternalise his existence, and reincarnated in every mind that imagines it. Thus, the fear of death became a catalyst in the creation of man trying to make himself immortal. In this regard, although the extent to which a film can be philosophical or contribute to philosophical knowledge is a matter of debate in itself, according to general acceptance, many films overlap with traditional and contemporary philosophical issues in some way. In this sense, the audiovisual expression and philosophical structure of cinema can be considered as an outcome of human beings’ self-understanding, and in this regard, the movie Halef is thought to be important in continuing this discussion.The term tabula rasa, in its most familiar form, discusses whether the souls of newborns are blank slates to be filled in later by experience and reasoning, or whether they exist as tablets on which the laws of nature and Adam’s sins are inscribed as signs of their mission at birth. The blank slate conceptualisation argues that people are born with a neutral mind from birth and that environmental factors, education, culture, and personal experiences shape the mind and personality of the individual. The idea of rebirth, on the other hand, is a doctrine in which the soul is reborn in a new body after death. This belief is prevalent in Hinduism, Buddhism, and other Eastern religions and envisions the soul moving from one life cycle to the next to reach spiritual maturity. The idea of rebirth and reincarnation holds that the individual will continue to exist in a new life with knowledge, experience, and karma from past lives. In parallel with his emphasis on the collective unconscious, Jung sees the fantasy of rebirth as one of the archetypes that are independent of individual experience and emerge and are&nbsp;transmitted through the experience of generations. In this sense, although archetypes cannot be fully known and limited, they can be traced imaginatively through their psychic representations. In this sense, the aim of this article is to treat Murat Düzgünoğlu’s film Halef as a philosophical inquiry, discussing existence and extinction, and even the desire not to exist, through the images and symbols in the film through Locke’s “tabula rasa” and Jung’s archetype of “rebirth”.&nbsp;It is thought that it is necessary to apply a hermeneutic approach to continue this philosophical debate. Hermeneutic is the art of interpreting the meaning of texts and works of art, and in this context, an analysis was made on the dominant symbols and themes in the film. The movie Halef re-evaluates man’s existential questions and fear of death through symbols and themes, and in this direction, it continues the discussion of Halef’s search for identity, Mahir’s essence that he avoids confronting, and his identity that he recreates under the influence of his illness. In addition, this study does not seek an answer to this mystery of humankind, but only questions the continuity of the cyclical and mythical narrative through this ambivalent structure and transforming representations.In this study, in which the universality claim and symbols of the Halef movie are examined, the axis mundi symbols are discussed through Jung’s archetypes, especially the well; It is associated with the sacred mountain and the tree of life. The last scene of the film represents a reversal of all balances and a break in the central axis. Initiatory death reiterates the paradigmatic return to chaos to enable the repetition of cosmogony, that is, to prepare for a new birth. Based on Eliade’s distinction between sacred and profane, the sacred is the revelation of the absolute truth, while the transformation of the characters of the film, Mahir and Halef, is interpreted as the flow between the sacred and the profane, the unconscious and the conscious. Based on Locke’s defence of knowledge gained through experience, this questioning process was handled with a hermeneutical approach and supported by symbols in the film, since humans cannot experience death. In this sense, it seems possible to infer that the essence of the film and the basis of human life is “doubt,” in parallel with the method of this study, its conceptual framework, and the philosophical inquiry established both within the film itself and in parallel with it within the work itself.

Metamps(i)pirical: Believing in Reincarnation with Reason as a Cyclical ‘Lie’ in Halef

Nigar

When tracing the roots of melodramatic narratives in Turkish cinema, a familiar term often comes to mind: Yeşilçam melodrams. Extensive research over the years has demonstrated that these melodramas served as narratives of escape in response to the socio-political events of their time, often attempting to convey specific ideological perspectives through exaggerated discourses. Class conflicts are portrayed through the values attributed to good and evil, while perceptions of wealth and poverty are shaped accordingly. These values are examined through the struggle between the modern and the traditional, with everyday practices symbolizing tradition being elevated. The portrayal of labor, family, and women within the conflict between modernity and tradition is intentional. The narratives use negative characters to signify goodness and purity. In each scenario where values are thought to have been compromised under the guise of modernity, virtue gains its strength from victimhood. Innocence is glorified as the purest value and is invariably rewarded; however, this reward process is shaped by gender codes. An innocent woman is easily deceived, loses her values in adapting to modernity, and a male figure, portrayed as a victim, either rescues her or exacts his revenge. Within such a narrative structure, identifying a social dimension is both easy and difficult.This study limits its historical scope to the 1960s, enabling a closer examination of the melodramas of that era. The socially realistic discourse present in the 1960s Turkish cinema can thus be re-evaluated and analyzed in relation to social events and political processes. This study examines four films from this period-Bus Passengers (Otobüs Yolcuları), The Guilty Among Us (Suçlular Aramızda), Birds of Exile (Gurbet Kuşları), and Beyond the Nights (Gecelerin Ötesi) -through this perspective, exploring how these films reflect social awareness. This analysis investigates the extent to which the films remain melodramatic by examining the discourses provided by melodramatic narratives.The selected films are significant in that they offer a clearer view of specific concepts such as migration, labor, young intellectuals, theft, class conflicts, and patriarchal discourse. These films highlight notable insights when contrasted with melodramatic narratives. They are also crucial for establishing oppositions like East versus West, modern versus traditional, good versus evil, and rich versus poor. If the 1960s indeed signify a narrative shift, this transformation should be most visible in how these concepts are narrated. Despite carrying ideological perspectives, the persistence of familiar narrative patterns remains a question. If the intellectual profile came to the fore in the 1960s, to what extent was this intellectual aware? How does social awareness reflect their relationships and their bonds with the women they love? What is this figure regarded as personal versus societal values? What is their relationship to labor processes? Have they developed class consciousness, or do they merely perpetuate familiar discourse under the guise of intellectualism? Exploring these questions reveals the melodramatic underpinnings of these films, exposing the ambiguous yet artificial impressions left by the narratives. This study pursues the specter of melodrama in 1960s films, attempting to re-read these stories using substantial data that indicates both the presence and absence of melodramatic elements.The findings reveal that in these films, melodramatic elements often overshadow socially realistic aspects. Narratives centered on victimized heroes carry traces of social victimization and oppression, yet these characters do not achieve conscious enlightenment. Instead, they appear confused, with their value judgments deriving strength from the aforementioned oppositions. There is no class awareness; individual conflicts and competition prevail over collective action. These characters seem to seek revenge on past experiences, continually returning to that past when engaging in social situations.Analyzing these films draws parallels between today’s unresolved narratives and those of the past, connecting present and past in local cinema, known for its middleclass stories and individual-focused narratives. What is avoided? Perhaps this avoidance itself represents a form of resolution. Each unresolved situation may, in its own way, signify a conclusion. The unresolved nature of these films, accepted as examples of the socially realistic movement of the 1960s, also points to a conclusion: the characters are not just seeking refuge in the past but grappling with an uncertain future they are attempting to escape.

Patched Narratives: Yeşilçam Melodramas within the Social Realist Structure of the 1960s

Hilal

The concept of virtual reality, which began to be discussed in the 1950s, is now used in many fields. Additionally, the concepts of the Internet of Things, wearable technologies, and artificial intelligence have been integrated into various sectors, from education and art to health and fashion, and beyond. In science fiction television series and films, predictions are made about how network technologies will transform individuals’ lives in the future. The series Upload, which is set in the year 2033, is a two-season, 20-episode science fiction show aired on Amazon Prime. An analysis of the show’s storyline reveals that it deals with the themes of artificial intelligence, virtual worlds, wearable technology, and digital capitalism. Virtual reality technology, combined with wearable technologies such as smartwatches, smart glasses, and smart clothing, allows individuals to step into virtual worlds.&nbsp;&nbsp;The use of virtual reality headsets, in particular, has become common in both the gaming and film industries, enabling users to experience content as if they were inside it and even influence its direction. As a result of digitalization, the concept of digital capitalism has emerged as a new economic system driven by the use of the internet and digital technologies. In this system, companies often use big data analysis, artificial intelligence, and other digital tools to track customer behaviors and preferences. Using this data, they deliver personalized advertisements to consumers and market products and services more effectively. Digital capitalism also stands at the intersection of transforming traditional business models across various industries through the internet and digital technologies. While this transformation creates many new job opportunities, it can also lead to job losses in certain sectors.&nbsp;This new economic system brought by digitalization allows individuals to create virtual lives with avatars in virtual worlds and exist within these virtual lives through digital commodities. Virtual worlds, through their simulated environments, offer users surreal experiences. In this context, as digital capitalism provides these experiences to users, different technological tools continue to be developed with the goal of generating higher profits. New media technologies, which bring users to the point of being participants and experiencers, have also introduced the concept of the ‘prosumer.’ A prosumer is a consumer who also produces. These prosumers, who are users, have added a new dimension to capitalism through their digital labor within the information society that uses technology. The concepts of digital labor and digital capitalism have sparked various debates among communication theorists as technology continues to advance in information societies. As an overarching concept, virtual worlds are frequently featured themes in content produced for digital platforms. In the Amazon Prime series Upload, for instance, characters who can purchase new lives for themselves after death begin to live different virtual lives to the extent that their economic and social status within digital capitalism allows. Accordingly, this study examines the series Upload through the lens of digital capitalism, virtual reality, and wearable technologies.

Rebirth in the Virtual World: Upload as a Case Study in the Context of Digital Capitalism

Cansu

Öğretim Görevlisi Dr.

An Interview with Serpil Altın and Korhan Uğur on Sustainable Cinema and Green Filmmaking: “Use the Earth Right So You Don’t Go Under”

Cenk

A Critical Analysis of Ridley Scott’s Napoleon

Eren

The Right Way to Live or the Despair of Letting Go: A Review of Speak No Evil

@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.

MLA International Bibliography

ERIH PLUS

DOAJ

Gale Cengage

@METRIC_VOLUMES

@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Filmvisio

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

Section Editor

Editorial Relations Manager

Editorial Assistant

Publicity Manager

Language Editor

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

<ul><li>MLA (Modern Language Association)</li><li><a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info?id=507252" target="_blank">Erih Plus</a></li><li>DOAJ</li><li><a href="https://go.gale.com/ps/dispAdvSearch.do?userGroupName=anon~84c5a0c7&amp;prodId=AONE" target="_blank">Gale Cengage</a> </li> </ul>

Indexing and Abstracting

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 <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.RetractionJournal follows <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE’s Retraction Guidelines</a> in case of retraction. The editor has the right to retract an article if: <ul><li>There is clear evidence that the findings are unreliable; either as a result of a major error (e.g. miscalculation or experimental error), or as a result of fabrication (e.g. of data) or falsification (e.g. image manipulation).</li><li>It contains plagiarised content. </li><li>It has been published elsewhere without proper attribution. </li><li>It contains material or data without authorisation for use.</li><li>There is copyright infringement or there is some other serious legal issue.</li><li>It reports unethical research. </li><li>There is evidence that the peer-review process is compromised or manipulated.</li><li>The author(s) failed to disclose a significant competing interest (also known as a conflict of interest) that, in the opinion of the editor, would have unduly influenced the interpretation of the work or the recommendations of the editors and peer reviewers.</li></ul>In case of retraction the following steps are followed:<ul><li>Retraction notice including article title is published in a subsequent issue of the journal. The retraction notice is paginated and listed in the table of contents. </li><li>A link is provided between the retraction notice and the original article in the electronic version. </li><li>The online article is preceded by a page containing the retraction notice; the reader can then proceed to the article itself.</li><li>The original article remains unchanged, except for a watermark on the .pdf on each page stating that it has been &#34;retracted”.</li></ul>Article Removal for Legal ReasonsIn the following circumstances, except the metadata (title and authors), the text of the article is removed and a page informing that the article has been removed for legal reasons replaces the article. <ul><li>The article is found to be defamatory or to infringe the legal rights of others, and retraction is not deemed to be an adequate solution.</li><li>The article has been, or is reasonably likely to be the subject of a court order.</li><li>There is a significant risk to public health. </li></ul>

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>

Issue Type	Regular
Editor(s)	Şükrü Sim
Cover (PDF)
Full Text (PDF)
Front Pages (PDF)