Hüseyin

Totaliter Bir Tekno-Köleye Doğru: Daft Punk’ın Electroma’sı

Floribert Patrick

Sahte-Gerçekçilik Olarak Sinema Okültizmi: Nollywood Film İzleyicilerinin Fetiş Zihniyetini Achille Mbembe’nin “Çift” Kavramıyla Rasyonalize Etmek

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)piral”: Döngüsel Bir ‘Yalan’ Olarak Halef Filminde Ruh Göçüne Akılla İnanmak

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.

Yamalı Anlatılar: Altmışlı Yılların Toplumsal Gerçekçi Yapısı Ekseninde Yeşilçam Melodramları

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.

Sanal Dünyada Yeniden Doğmak: Dijital Kapitalizm Bağlamında Upload Dizisi Örneği

Cansu

Öğretim Görevlisi Dr.

Sürdürülebilir Sinema ve Yeşil Film Yapımı Üzerine Serpil Altın ve Korhan Uğur ile Söyleşi: “Yerin Altına İnmemek İçin Yeryüzünü Doğru Kullan”

Cenk

Assoc. Prof. Dr.

Ridley Scott’ın Napoleon Filminin Eleştirel Bir Analizi

Eren

Res. Assist.

Yaşamanın Doğru Yolu ya da İzin Vermenin Çaresizliği: Speak No Evil Filmi Üzerine Bir İnceleme

Şükrü

Prof. Dr.

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

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

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

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

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

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

A Critical Analysis of Ridley Scott’s Napoleon

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

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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.

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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>

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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
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