Emine

Prof.

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4. BOYUT JOURNAL OF MEDIA AND CULTURAL STUDIES   CALL FOR PAPERS - ISSUE 26

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Veli

Assoc. Prof. Dr.

Temadan Kurumsal: Gazetecilik Enstitüsü’nden İletişim Fakültesi’ne

Alev

Temadan Kavramsal: Toplumsal Bellek ve İletişim Alanı Üzerine Birkaç Not

İpek

The phenomenon of war, which is one of the existing methods for solving problems related to international relations, has been defined in different ways by various disciplines and thinkers because it affects all areas of life. The social, economic and technological developments experienced during the process have changed the meaning of the concept of war and the way it is implemented.Developments such as the urban life that emerged in Mesopotamia and Egypt in 5000 BC, the existence of an organised army in the Sumerians in 2700 BC, and the emergence of gunpowder in the Middle Ages were effective in the transformation of war throughout the historical process.In the later period, as the destructive power of weapons increased with the development of modern warfare techniques, the distinction between soldiers and civilians in war situations disappeared. I. and II. World wars can be cited as examples of wars in which the distinction between military and civilians disappears and wars with high destructive power.When it came to the Cold War Period, which did not define a hot conflict and took place between the USA and the USSR, atomic bomb tests began. While the main purpose of the wars that took place in the periods before the Cold War was the desire to win the war, the aim with the possession of nuclear weapon technology was to prevent wars and create a deterrent effect.Nowadays, with the influence of technological developments, in addition to traditional wars, cyber wars, defined as activities carried out in cyberspace in order to damage the network systems of the attacked party and prevent the use of these systems temporarily or permanently, have begun to emerge.War journalism, which can be defined as all journalistic activities carried out during the war to inform the public about the information obtained on the battlefield, has also transformed with the developments in the process. War journalism as a professional field emerged in the 19th century.World War I, in particular, became a war that enabled worldwide reporting of the war, with the influence of technological developments brought about by the Industrial Revolution. The emergence of radio during the II. The World War allowed the sounds of the battlefield to be transmitted to the masses. The start of television broadcasting during the Vietnam War, which took place between 1955 and 1975, enabled the establishment of a connection between the battlefield and people’s homes, and thanks to television broadcasts, the Vietnam War became very involved in people’s lives. The Gulf War, which occurred in 1991, is considered another turning point in terms of war journalism, as it was the first war to be covered by “live broadcast.”&nbsp;In the present day, the capacity of digital technologies to transform and disseminate all kinds of information has begun to be used in the field of war journalism and has caused certain changes in terms of war journalism practises. The LiveUAmap application, which constitutes the sample of the study, is one of the digital war journalism applications that emerged in parallel with these developments. Working through crowdsourced information collection and compilation, Liveuamap (Live Universal Awareness Map) can be described as a web-based war journalism application. Although it was first created to follow the Ukrainian civil war, over time it began to convey the armed conflicts, protests and natural disasters occurring in many parts of the world in real time.&nbsp;&nbsp;In the study, how digital war journalism practises transformed the audience’s perception of reality about war was analysed with the determinations of French thinker Jean Baudrillard, especially regarding mass media. Since the purpose and design of the study required interpretation of the data obtained, the ethnographic research method was preferred as the method of the study.According to Baudrillard, from a system perspective, the only thing that is successfully presented through communication tools is hyperreality. Moreover, the news transmitted through mass media constantly changes place at the speed of light. This speed causes the news to change spatially and reality to disappear.Moreover, Baudrillard states that in the age we live in, the phenomenon of reality has become dysfunctional over time. The inadequacy of reality in this sense has moved us to the simulation universe and reality has reached the meta level and become a virtual reality. In a phase that makes all ideological structures unimportant and gives importance only to network systems, network systems have begun to replace ideologies. In short, network logic destroys not only historical realities but also all realities about life. As a result, according to the data obtained from the audience in line with the sample of the study, it has been determined that Baudrillard’s analyses are valid for the audience.

Examination of Digital War Reporting Applications in the Context of Baudrillard's Communication Theory: Liveuamap Sample

Gizem

In this study, the literature on collective memory will be considered together with the concepts of “class in itself” and “class for itself”, two important concepts of Marxist terminology. This effort seeks ways to comprehend collective memory from a historical materialist perspective rather than an effortless equation or a forced line of similarity. The effort to rethink collective memory together with these two concepts is also an attempt to prepare a ground for seeing the wholeness; however, it is an attempt to think of this not alone but as a concept that transforms/transforms together with the “collective” to which it is inherent. I call the cultural line that uniqueness collective memory as its own reason for existence and perceives it as free from its historical and social ties as “memory in itself”. While I problematise what the theoretical and political connection is that will transform it into being “for itself”, just like the discussions on the original ground of the concept, I claim that the historical materialist theory of memory is the theoretical and political ground of this main connection. I argue that only the clarification of the lines of this powerful methodological objection will reconnect it to the human agency and the economic and political dynamics to which it belongs. This is the fundamental point that can make it part of the class struggle, that can unite it with the memories of social struggles, not just their testimonies.For beginners, the literature on collective memory seems quite rich, profound and, so to speak, like a kaleidoscope. Collective memory is closely tied to all issues of the social and the subject through visible and invisible ties. The topic of collective memory has become an increasingly central theoretical concern across academic disciplines, from the humanities and social sciences to literature, aesthetics, cognitive and natural sciences. Why has collective memory become very popular? What dynamics of conceptual or theoretical trends can this “popularity” be read as a response or objection to? What “gap” in theory or practise has caused this situation? Is this gap a structural gap resulting from the dynamics or progress/ disruptions of historical progress, or should it be read as a kind of articulation and substitution ground created by new “identities” that specific political and social identities gain or lose in policy processes? The answer to this question can be found in observing the transitional process between modernism and postmodernism, which is the main ground of the rupture of time and space. The post-modernist perspective in particular can be described as the “eye of the storm” in this process with its fundamental interventions into history, subject and knowledge processes. For collective memory, the modernism-postmodernism transition is&nbsp;not just a time-space rupture; the main theoretical and political line that has left its mark on the era has changed; this is the main thing. Therefore, the popularity of the field of collective memory is not the cause of the changing basic axis in social sciences, but the result. The focus is to highlight the break with the methodology. In essence, the separation of theory and practise has determined the characteristics of critical thought and the systematic tendencies that have emerged from it, the intellectual orientation. This means shaking up the three main elements of Marxism: the notions of history, subject and knowledge. History as a collection of narratives; a lost, disengaged subject and a theory of knowledge that is separated from itself and from external objects. What needs to be done to break out of the inertia of collective memory studies that seems to have spread to all social science studies today? This is the question that stands before us, waiting to be answered. It is necessary to consider memory as a more complex, multiple and historical contradiction that is suitable for a historical materialist theorisation rather than as a collection of oversaturated ambiguous representations that grasp memory from a more cultural perspective. The main purpose of the study is to mark this point.&nbsp;

On Collective Memory: “The Interrogation of the Good”

Merve

Lecturer

The Enchanting World of Outlander: An Analysis of Celtic Myths and Feminism

Beyza

In this study, I engage in a feminist ethnographic discussion on tattoos, or Deq as termed in the local Kurdish dialect, focusing on women who are illiterate. I examine the tattooing practises of ten women over the age of 60, who represent the last generation of a tradition in the villages surrounding the Hilvan District of Şanlıurfa, by centring on their subjective experiences. Adopting a qualitative research approach, I ask open-ended questions based on in-depth interviews, bringing the past experiences of these women into the present through a narrative within their micro-habitats.&nbsp;The participants, who do not speak the country’s official language, Turkish, were all interviewed in their native language, Kurdish. The framework of the study involved conducting interviews with ten women over the age of 60, who represent the last generation of a tradition and are still considered ‘monumental figures’ in the region, guided by a sense of ‘partial identification’ and ‘conscious bias’. My aim is to contribute to women’s history and reinsert the body into historical narratives by filling the gaps left by mainstream history through the oral histories of rural women who do not speak Turkish and are illiterate, focusing on their de experiences.Framed by feminist ethnographic methodology, this study prioritises a feminist perspective, emphasising that it is the responsibility of women researchers, who share a common ground, to recover and bring to light the everyday practises embedded in women’s subjective experiences from micro-memories to the present. Feminist ethnography seeks to answer the question, “Who is the subject of experience?” As a methodology well-suited for democratising history, feminist ethnography creates “transitional spaces”, inhabiting “the intersections and borderlands of embodied emotions”, and operates on the principle that “the personal is political”. It employs a feminist language dedicated to the future of women, excluding discriminatory and sexist discourse, and shifts focus from the personal to the social and cultural. This adaptable methodology collaborates with oral history and narrative techniques, revealing new gaps in knowledge.In the Southeastern Anatolia region, tattoos are known by different names: among the Kurdish people, they are called Deq, while among the Arab community, they are referred to as Veşm/Vesm. The person who performs the tattooing is known as a Dekkak, with women being called Dekkake; men who get tattooed are called Medkuk, and women are called Medkuke. The long history of traditional tattooing in Southeastern Anatolia, compared to other regions, is influenced by its socio-cultural and religious context. Although this tradition, involving the use of ash and breast milk to ink the skin, dates back to the 17th century, the first official evidence was discovered in 1991 in the Ötztal Alps on the Austria-Italy border. The preserved body of a man who lived approximately 5,300 years ago, mummified with tattoos, is considered the historical starting point of tattooing. The Iceman Ötzi, who provides insights into the period between the Neolithic and Bronze Ages, has 57 tattoos on his body. These motifs are on or near points corresponding to the acupuncture sites used in modern medicine. According to archaeological, anthropological and historical readings of the Palaeolithic and Neolithic periods, certain symbols have been found on female figures. In the Upper Palaeolithic, around 2500 BCE in Isturitz, a plant symbol was inscribed on a female figure. Similar plant symbols have been discovered on the body of the Çatalhöyük Mother Goddess, as if emerging from her navel, as well as on artefacts from Kalınkaya in Anatolia around 3000 BCE and on female figures from Altıntepe in Turkmenistan around 2400 BCE.The first sign that led me to undertake this research began with the tattoo on my mother’s hand. When I started talking about Deq, a vivid memory of my great-grandmother’s face, which had appeared blue in my mind since I was around 3 or 4 years old, resurfaced. I realised that the restorative function of memory through dialogue had been triggered here, as my mother also recalled the tattoo on her own mother’s temple when looking at old photographs. The second motivation for the study was to explore why Deq was predominantly chosen by women. By involving my mother in the fieldwork as an ‘intermediary’, I was able to reach ten women over the age of 60 who were second- and third-degree relatives. Since my mother spoke Kurdish better, she initiated the first conversations with the participants. I visited the participants in their micro-habitats, conducting interviews during gatherings at festivals, wedding feasts, funerals, and ‘bride-seeking’ ceremonies, often in settings where more than three women were present.“The prominent themes related to Deq that emerge while “nomadising on the paths of the skin” include group identity, privacy, sin and shame, healing, feminine performance and the marking of womanhood, being valued as a means of overcoming worthlessness, cultural adaptation, and resistance to the father. The fact that the women in the region are both illiterate and not fluent in Turkish makes it all the more important to document the experiences of these participants, who represent the last tattooed generation, in writing to preserve their stories against the transience of spoken words and thereby leave a record in history. The heteronormative law of patriarchy operates under the same paradigms everywhere, whether in rural or urban settings. However, the primary motivation that I was careful to maintain in this study was to highlight how women use their skin as a space of freedom and to emphasise&nbsp;their position as ‘knowledge-bearing subjects’ within the Deq culture. This awareness, as Maxine Hong Kingston noted (1999), “because when all you have is your voice, the world is fragile”, drives me to document the bodies, patterns, and voices of the women in the region. As an ethical duty, I aim to fulfil my responsibility as someone from within their community, transferring their stories to life through writing.

Feminist Ethnography As A Study of Oral History: Tattooed [Deq] Women of a Generation

Zeynep

Öğretim Görevlisi

Collective memory; it is an archive that is formed in line with the events and situations experienced by individuals in the society and reveals the characteristics of that society; it is the product of a collective effort. It emerges as a result of the common experiences and sensations of the individual within the society with other individuals. Collective memory; it cannot be considered independent of the culture, values, teachings and lifestyles in that society. Values as one of these components; it includes the characteristics adopted by that society, which provide a certain criterion for the emotions, thoughts and behaviours of the members of the society. Values have a structure that is loaded with ideological meanings and adds meaning to society. As members of the society in which they live, individuals adopt the basic values of the society and shape their socialisation processes in line with these values.Values can be universal or national depending on their scope. While universal values refer to values that have the same qualities in all societies and cultures in the world; national value corresponds to the values that are unique to nations. National values are among the elements that keep collective memory alive as the memory of a society. It is decisive in the existence of collective memory. National values specific to a nation occur in the collective memory of that nation and create citizenship awareness and loyalty in the members of that nation. Therefore, national values are important for the collective memory of nations and help maintain the collective memory.Time and space are important in transferring and keeping collective memory alive. In particular, space determines the area and scope of memory. Just as the memories of individuals in their personal lives cannot be considered independently of place; collective memory also exists with space. This space can be concrete or abstract. The memories that the memory keeps are realised within a certain perception of space. The existence of a place is a must for these memories to be experienced and stored in memory. Members of society who create collective memory during the socialisation process and remember or forget the memories in collective memory; they perform these actions in the places where they communicate. One of these places is social media.Social media are virtual environments where users can communicate and interact with&nbsp;each other regardless of time and place. In other words, it is possible to think of social media as a new form of space that eliminates the necessity of physical space. Many individuals with small or large target audiences, such as ordinary individuals, celebrities, and political leaders, can participate in this venue. Among these individuals, there are also people called opinion leaders who have the power to influence the feelings, thoughts and behaviours of other individuals.Opinion leaders are those who have an impact on those who watch, listen or read them with their actions and opinions; they are people whose actions and opinions are valued. These people eliminate the necessity of physical time and space; they also occur in social media, which creates an alternative to the condition of time and space commonality of collective memory in a different form. Opinion leaders on social media appeal to their target audiences by sharing posts for various purposes and motivations.Collective memory is constantly updated as it is transferred by the members of the society, and it updates itself and presents itself to its members. National values are important in terms of how close or far away they are from the essence in this updating process. The existence of national values enables societies to preserve their identities in the global world and prevents them from assimilating. It is a necessity to protect and keep alive national values in order to prevent the separation from the essence in the updating of collective memory and to prevent the loss of national characteristics in the globalising world. The existence of national values means that the collective memory exists with its essence, and therefore the collective memory is maintained with its essence.In this context, the study focused on national values in maintaining collective memory and national values; It was examined through social media, which has a central position in today’s daily life practises. In this review, the posts of opinion leaders who have influence over other individuals on social media and whose behaviours and opinions are given importance were discussed. In the review, content analysis was conducted; frequency analysis and categorical analysis techniques were used. The last 50 inactive posts of the selected opinion leaders on Instagram, one of the most used social media platforms, were analysed. Because of the analysis, it was observed that opinion leaders included national values in their posts. In particular, it has been determined that content such as Turkish, Turkish names, Turkish soldiers, Ataturk and Turkish food are included at high frequency. Therefore, in transferring and keeping national values alive; at the same time, it was concluded that opinion leaders play an important role in maintaining collective memory. It is expected that the study will raise awareness on this issue and contribute to the maintenance of collective memory and national values through future studies.

A Look at Turkish National Values in the Context of the Social Media Shares of Opinion Leaders in Maintaining Collective Memory

Meriç

Assist. Prof. Dr.

Başak

This study examines how neoliberal values are represented in the content of social media influencers in Turkey and the impact of these representations on social norms. Neoliberalism, emphasising individual freedoms and a free-market economy while advocating minimal state intervention, is frequently represented globally through mass media. Social media has emerged as a crucial tool for disseminating these neoliberal values to a broad audience. The research aims to determine the extent and manner in which these values are embedded in influencer content and how such content influences individuals’ consumption habits, aesthetic norms, and general lifestyle.In contemporary society, social media functions not only as a platform for individual expression but also as a medium for the reproduction of societal structures and ideologies. Influencers, due to their large followings, play a critical role in spreading cultural norms and values. This study is crucial for understanding the impact of social media content on identity construction, social status perception, and consumer preferences. Moreover, in a unipolar political climate resistant to criticism, critical media studies can be seen as a constructive effort that promotes alternative modes of thought.&nbsp;The research employs qualitative content analysis. The Instagram posts of the ten most popular lifestyle influencers in Turkey were examined, resulting in the analysis of 267 posts across various themes. These themes include consumer culture, fashion and beauty standards, individuality, competitiveness, property and wealth, travel and freedom, entertainment and hedonism, and technological innovations. The analysis reveals how frequently and in what contexts these themes appear in influencer content.The findings indicate that influencer content largely promotes consumer culture and aesthetic norms. The promotion of luxury products and sponsored content shape individuals’ consumption habits through social media and increases consumption pressure. This phenomenon leads individuals to express their quest for social status through consumption.Content related to personal development and personal branding is often presented through the lens of positive psychology and affirmative thinking. This trend contributes to reinforcing a culture centred on individual responsibility and success.The study also shows that influencers indirectly idealise property and wealth. Influencers who showcase luxury lifestyles incite a desire among their followers to adopt similar lifestyles. This desire is a fundamental dynamic that fuels the consumer culture of our age, encouraging social media users to idealise hard-to-attain lifestyles and fostering a desire to access them.Themes of travel and freedom frequently appear in influencer content, reinforcing the desire for self-expression through consumption. However, most of this content is luxuryconsumption-oriented rather than focused on cultural exploration. This contributes to the neglect of cultural heritage and local values on social media, favouring the spread of global consumer culture.Themes of entertainment and living in the moment often symbolise an escape from economic and social issues, promoting a lifestyle focused on individual pleasures. This content can lead individuals to prioritise instant gratification and consumer-oriented activities, potentially detracting from long-term goals and deep personal development. The promotion of a consumer-oriented and hedonistic lifestyle, alongside increased individualisation, has been evaluated as a phenomenon that complicates collective consciousness and solidarity.Conclusion and Evaluation:The research highlights the critical role of social media influencers in reproducing the values of the dominant ideology. Influencer marketing contributes to the spread of consumer culture and aesthetic norms, exerting significant psychological pressure on individuals. This is especially evident among young people, who may feel pressured to conform to beauty standards and adopt consumer-oriented lifestyles. There is a need for more qualitative and quantitative research to understand the impact of social media on individuals’ social norms and values.This study contributes to the literature on media and cultural studies by providing a framework for understanding the influence of social media content on societal memory. Collaborations between influencers and brands have emerged as a new and potent marketing paradigm. However, to gain a holistic understanding of influencer marketing, it is essential to consider its effects not only within the context of corporate marketing activities but also on society, politics, and culture. In this context, critical media studies should be regarded as efforts that contribute to societal awareness and raise consciousness.

Digital Hegemony: Influencer Marketing in the Reproduction Process of the Dominant Ideology

Birgül

Collective memory is the process of preserving, reproducing and transferring this heritage to future generations, built on the common history and cultural heritage of the society. Various elements such as cultural habits, historical events, rituals, traditions and works of art are effective in the formation of collective memory. These elements play an important role in shaping the identity, values and lifestyle of the society. The transfer of collective memory generally occurs through various tools such as oral and written expressions, cultural practises, education and training, visual and audio media, and digital environments.The relationship between collective memory and media is an important research topic on what role the media has and creates in the memory of society. Today, media, as a tool with the power to spread information and news rapidly, has the function of shaping and directing the memory in society. It creates the memory of the society by providing information on various subjects such as social events, cultural values, political developments and historical events. News, documentaries, films and content in other media are among the factors that shape societies’ perception of the past and determine their future expectations.The increasing diversification of media environments and the tendency towards internetbased applications have enabled digital environments to become places of memory. Digital media refers to the types of media created, distributed, and consumed through the internet and digital technologies. Its basic features, such as multiple content types, interaction and participation, and ease of access to information, show that it has radically changed communication methods and cultural production.This study focuses on the relationship between digital media and collective memory and examines the role of digital environments in memory construction. In this study, the relationship between digital media and collective memory is discussed through theoretical discussions; A liberal and critical perspective is presented. Understanding the role of digital media in collective memory is important in terms of both accurately remembering the past and shaping future collective memory.Digital media represents collective memory on digital platforms. Historical events, cultural heritage, and social memories can be stored and shared through social media, blogs, and digital archives. This provides the opportunity to represent collective memory in a broader and more diverse way. At the same time, digital environments facilitate the sharing of collective memory. Sharing and discussions about social events, crises, and cultural events create and strengthen the collective memories of societies. This process affects how social identities and histories are collectively remembered in the digital environment.Digital media offers easy access to information and memories. Past events and personal memories can be stored on digital platforms and retrieved at any time. This increases the continuity and accessibility of the collective memory. In addition, digital media plays an&nbsp;interactive role in the formation of collective memory. Users can share and discuss their memories through social media and other tools. In this way, the importance of individual contributions in the formation of collective memory increases.Digital media also plays a role in the construction of social identities. Social groups and individuals have the opportunity to choose how they want to present their identities and histories on digital platforms. However, it should not be forgotten that rapid access and sharing of information can create an environment open to manipulation. Misleading information, disinformation and media influence can affect collective memory and public perception. This situation may make the accuracy and reliability of collective memory questionable. The fact that digital media increases the speed and amount of information flow can cause collective memory to be constantly updated and some information to be forgotten quickly. Information overload can also lead to changes in which information will remain in collective memory and which will be forgotten.As a result, digital media significantly transforms the formation, preservation, and sharing of social memories. It presents both opportunities and challenges; It is clear that while allowing collective memory to become more accessible and diversified, it is also necessary to be careful about information security and accuracy.

From Collective Memory to Media Memory: Digital Environments in Memory Construction

Çağla

Turkish horror cinema has a deep relationship with collective memory and traumas, offering audiences both a familiar and uncanny experience. This study examines the reflections of collective memory in Turkish horror cinema and reveals the function of this cinema in confronting and dramatising social traumas. Specifically, how collective memory, traumatic memory, and spatial reminders are represented in Turkish horror cinema is examined in the films Küçük Kıyamet (Durul Taylan and Yağmur Taylan, 2006) and Musallat (Alper Mestçi, 2007). Furthermore, Baskın: Karabasan (Can Evrenol, 2015). Turkish horror cinema reflects collective memory through its in-depth treatment of religious and mythological elements. Supernatural beings and Islamic beliefs in Turkish culture enrich the atmosphere of horror films, offering audiences both a familiar and frightening experience. In this context, Turkish horror cinema plays an important role in reflecting the fears and beliefs in the social subconscious. The films analysed are important examples of this cinema’s relationship with collective memory and its function of confronting social traumas.As a film that deals with the trauma of the 1999 Marmara Earthquake, Küçük Kıyamet presents a cinematic reflection of a disaster that has left deep traces in collective memory. While the film deals with the fear and trauma experienced after the earthquake through a metaphorical narrative, the fear and uncertainty experienced by the characters symbolise the general mood of the society. The fears and traumatic experiences Bilge constructs in her mind constitute the main theme of the film. In particular, the empty tombstones and claustrophobic scenes under the rubble powerfully represent Turkey’s earthquake trauma and its effects on collective memory.The movie Musallat, on the other hand, combines the migration experience of the Turkish community and alienation with the theme of fear. The spatial context in Germany reminds us of loneliness, migration and isolation, while reinforcing the sense of isolation in the horror film. The figure of the genie and the supernatural events in the film blend with the fears of Turkish mythology and Islamic beliefs to create an eerie experience for the audience. While Musallat deals with social traumas such as immigration and settlement problems, it also reveals the fear and uneasiness that these traumas create in individuals. Baskın: Karabasan presents the spatial expression of fear and anxiety embedded in collective memory through the abandoned state of an Ottoman-era police station. The police station is represented not only as a symbol of security and state authority but also as a symbol of oppressive rule and injustice. While the dark and labyrinthine structure of the film creates&nbsp;unease in the viewer, the historical and spatial context of the police station emphasises the elements of fear in collective memory. Police stations can be considered spatial reflections of events such as military coups, police brutality, and political repression.Spatial memory also plays an important role in Turkish horror cinema. Pierre Nora’s concept of «lieux de mémoire» explains how fear is remembered through specific spaces and becomes a part of collective memory. In Turkish horror films, places such as abandoned houses, cemeteries, and mausoleums are used as sites of memory associated with fear. These places provide the audience with a frightening experience, and thus concretise the memories associated with fear in the collective memory.As a result, Turkish horror cinema contributes to keeping alive and reproducing social memories and traumatic experiences. By dramatising traumatic memory, these films offer audiences the opportunity to confront past traumas and help them be accepted as part of collective memory. Turkish horror cinema assumes a therapeutic function on both individual and societal levels, enabling viewers to deal with past traumas in a healthier way.

Horror and Memory: Traces of Collective Memory in Turkish Horror Cinema

Muhammed

Res. Assist.

Gülsüm

Prof. Dr.

Collective memory is the knowledge of the past that individuals themselves do not experience but learn from cultural artefacts. These cultural artefacts enable the formation of a common memory as a cumulative result of a society’s narratives from the past. Examples of these cultural artefacts are literary works, rituals, ceremonies, symbols and values. All these dynamics are important milestones that ultimately lead to the formation of a common consciousness of a society. When we consider it in this direction, the essence of collective memory is not the past experienced by individuals in the same time and context, but the commonality of information and narratives about the past. The commonality of narratives about the past enables individuals belonging to that society to develop an identity and create a sense of unity. This sense of unity brings a common understanding by uniting society and individuals around certain values. At this point, culture plays a binding role between the individual and society. The deeper the roots of this binding role, the more likely it is to come to life in the life and memory of society. Culture, which takes place in a cyclical process, provides an inseparable integrity with the social structure by creating its own meaning and difference on a human basis. These effects of culture reveal what is expected from individuals in the society, shape the patterns that determine how the individual should behave and enable individuals to make sense of themselves and their environment.&nbsp;This shaping process reveals the social reality. The process of social reality, in which the role of the individual in society is determined, regulates the individual’s relationship with society by revealing the reflection of an ideological entity based on the perspectives presented by all the values, thoughts and behaviour patterns that exist in social life. Understanding social reality is crucial for navigating the complexity of human society and realising how our individual and collective identities are shaped by the social contexts in which we live. In essence, the relationship between collective memory and social reality is fluid and reciprocal between what a community remembers and how it understands its place in the world, based on how the social system is perceived and constructed.&nbsp;Habitus, another concept thought to affect collective memory, has been a fundamental concept used by Bourdieu to explain much social behaviours. Habitus contributes to the reproduction of social structures by embedding certain memories and narratives within a community. While habitus is shaped by past experiences, it also offers an adaptive structure. New experiences change existing trends, allowing collective memory to evolve . This&nbsp;adaptability means that the collective memories of groups can change as social conditions change, and it would not be wrong to say that this situation reveals a dynamic interaction between memory and habitus.All of these explanations reveal that there may be different dynamics in the formation process of collective memory. The existence of these dynamics has been tried to be explained in line with social reality and habitus. In this article, the relationship between habitus, social reality and collective memory is explained by attempting to reveal how the sources that contribute to collective memory affect collective memory. In this article, which was prepared by compiling the national and international literature, it was concluded that collective memory, which is a process of remembering, is possible with the design of habitus and social reality. With these results, it is aimed to provide a more detailed understanding of the relationship between these three concepts by providing a source for future studies and to contribute to the national literature by facilitating the understanding of how individuals are shaped in society.&nbsp;

The Construction of Collective Memory in the Axis of Social Reality and Habitus

Collective Memory as A Field of Struggle in The Conflict Between Democracy and Anti-Democracy: An Interview with Reyhan Ünal Çınar

Gökhan

Critical Political Economy of Culture and Communication: An Interview with Graham Murdock

Ajda

Collective Memory According to Maurice Halbwachs

Melikşah

Ahmet

A Review of Alev Alatlı’s Bize Yön Veren Metinler

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4. BOYUT / Journal of Media and Cultural Studies is a peer-reviewed, open access, academic journal operating within the Faculty of Communication of Istanbul University. Between 1990 and 1998, the journal published 19 issues with the content of "Society, Communication, Culture and Art" in academic quality, became a refereed journal as of the 20th issue, and framed its field of study as media and cultural studies. The contents of the first 19 issues, which include highly valuable academic articles, are in our archive. We consider it a liability to express our sincere thanks to the academicians and other authors of our Faculty, who provided us with the academic content in the first 19 issues. 

As of the 20th issue, the 4. BOYUT / Journal of Media and Cultural Studies, which is planned to be published electronically twice a year (April and October), started to include scientific studies in the fields of media and culture. The journal includes articles in Turkish and English, and  include all kinds of original Research Articles, Review Articles, Evaluation, Translation, Interview, Opinion and Book Criticism in the field of cultural studies. No processing fee or publication fee is charged for the articles sent to the journal.

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4. BOYUT Journal of Media and Cultural Studies aims to publish on the field of cultural studies and to include new perspectives. To realize this aim, the journal is open to interdisciplinary studies within the scope of cultural studies developed within media and communication studies, and it is open to anthropology, literature, art, sociology, history, political science, linguistics, philosophy, psychology, etc., and accepts academic studies in almost all fields of social sciences. Our journal sees culture as both the experience of the world and the practices lived in it, and in this context, it covers all the processes that cover the cultural integrity of the society. In this context, it is a peer-reviewed journal published free of charge and open access, aiming to make original, qualified, and scientific contributions at the national and international level, over a separate theme for each issue in the field of cultural studies. Social, political, economic, technological etc. are in our scope since cultural factors underlie all important problems. 4. BOYUT aims to ensure that media and culture can be considered together with other fields.

Aim and Scope

<ul><li><a href="https://kanalregister.hkdir.no/publiseringskanaler/erihplus/periodical/info?id=507394" target="_blank">Erih Plus</a></li><li><a href="https://go.gale.com/ps/dispAdvSearch.do?userGroupName=anon~84c5a0c7&amp;prodId=AONE" target="_blank">Gale Cengage</a> </li><li>DOAJ</li><li>EBSCO Communications Source</li><li>EBSCO Central &amp; Eastern European Academic Source</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.Plagiarism Submitted 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.Double Blind Peer-ReviewAfter 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.

Policies

4. BOYUT Journal of Media and Cultural Studies is an open access journal which means that 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 principle is compatible with BOAI definition of open access.The articles 4. BOYUT Journal of Media and Cultural Studies are open access articles licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/deed.en</a>)

All expenses of the journal are covered by the İstanbul University. Processing and publication are free of charge. There are 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 (CC BY-NC 4.0) (<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.

The Artificial Intelligence Policy, prepared in light of developments in artificial intelligence (AI) and practices in scholarly publishing, sets out the editorial and ethical principles that authors, reviewers, and editors should follow when using such technologies. The following sources have been considered in the preparation of the AI policy:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) can develop and produce a wide variety of content, including text, images, audio, and synthetic data. When used ethically and safely, these capabilities can increase productivity and foster innovation, but when used without human guidance, they pose risks such as inaccurate and biased results, omissions and errors in citations, deficiencies in protecting privacy and intellectual property rights, and potential violations of authors' and publishers' rights. IUPress adopts the following core principles to avoid these risks in the use of AI:  <ul><li>Details of any AI used in the production of content (including but not limited to text, figures, images, and code) must be declared and clearly explained in the appropriate section of the paper (as an acknowledgement and/or in the methods section). </li><li>No AI tool may be listed as an author in any scientific paper. </li><li>Authors are responsible for the accuracy, completeness, and originality of their work, even if AI is used in any way; they are responsible for the proper referencing and attribution of others' ideas, data, words, or other materials. </li><li>Reviewers and editors must not upload submitted work, in whole or in part, to any generative AI application.</li></ul>In the editorial processes of IUPress publications, tools are available to assist editors in identifying AI-generated content. On the other hand, it is common to use AI tools that provide suggestions for improving and enhancing readability, language, and grammar, and such AI tools can be used in IUPress publications under the supervision of editors and authors.

Artificial Intelligence Policy

<ul><li>Authors are required to declare if they have used AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) in the creation of their submitted work. </li><li>Authors should explain, both in the cover letter and in the appropriate section of the submitted paper (as a footnote and/or in the methods section), which AI tool and which version of it they have used and for what purpose. </li><li>Authors should also indicate how they used the AI tool and how they assessed the validity of the results obtained using this technology, and what aspects of the paper, manuscript content, data or supporting files were influenced by the use of the AI tool or were generated by AI.</li><li>It is the authors' responsibility to ensure the accuracy, validity and appropriateness of content and citations generated by AI-assisted technologies and to eliminate potential errors, inconsistencies and biased results. </li><li>Authors should always check the original sources to eliminate possible plagiarism, recognising that there is a potential for plagiarism in texts produced with AI-assisted technologies. They should confirm that they have checked and that the sources are original.  </li><li>AI-assisted tools (such as ChatGPT) cannot be listed as authors because they cannot be responsible for the accuracy, integrity, and originality of the work, and these responsibilities are essential to authorship. Therefore, authors are responsible for all material involving the use of AI-assisted technologies. Authors should ensure that all statements in the article that state the hypotheses, interpretations, conclusions, limitations, and implications of the study represent their own opinions.  </li><li>Studies created by authors using AI tools in the following ways, which substitute for the basic researcher's and author's responsibilities, violate the principles of scientific publishing and publication ethics, and such studies are not eligible for inclusion in publications: </li></ul><ul><ul><li>Generation of text or code without rigorous review, </li><li>Generation of synthetic data to replace missing data without a robust methodology, </li><li>Creation of any inaccurate, synthetic content, including abstracts or supplementary materials, </li><li>Creation and manipulation of images and figures (pictures, graphs, data tables, medical images, image snippets, computer codes and formulae) or original research data (enhancing, hiding, moving, removing or adding a particular feature within an image or figure) using AI.</li></ul></ul>

It is essential to maintain confidentiality in the peer review process and not to share or use the reviewed work in this process. <a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>)<ul><li>Reviewers should not upload a manuscript or part of a manuscript submitted to them for review to generative AI tools or large language models to assist in the review, evaluation or decision-making process, as uploading content to such AI tools by reviewers violates the authors' privacy and property rights.  </li><li>Reviewing a scientific paper is a responsibility that can only be undertaken by human beings. The critical thinking and original evaluation required for peer review is beyond the scope of this technology, and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the paper. The peer review report and decision letters should reflect the personal assessment of the reviewers and editors of the submitted content. The reviewer is responsible and accountable for the content of his/her report. </li><li>AI tools may be used in a limited way to improve the quality of the language of the peer review report (for translation or language editing) in the context of peer review. If such use is made, the reviewer must declare the use when submitting the report. </li><li>Reviewers who suspect inappropriate or undisclosed use of generative AI in a submission should report their concerns to the editor.</li></ul>

Editors are obliged to ensure that the confidentiality of the manuscripts submitted to the journal is maintained during the evaluation process, and it is essential that the peer-reviewed work is not shared or used outside the parties involved in that process. (COPE - Code of Conduct and Best Practice Guidelines for Journal Editors) <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editors should not upload a submitted article, or any part of it, to generative Artificial Intelligence tools or Big Language Models to assist in the review, evaluation or decision-making process, as this may violate authors' privacy and property rights. </li><li>Managing the editorial review of a scientific article implies responsibilities that can only be attributed to humans. Generative AI or AI-assisted technologies should not be used by editors to assist in the evaluation or decision-making process of an article, as the critical thinking and original evaluation required for this task is beyond the scope of this technology and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the article. The editor is responsible and accountable for the editorial process, the final decision and its communication to the authors.</li><li>Editors should not use generative AI tools to compose decision letters or abstracts of unpublished research. </li><li>Editors may use generative AI tools to help find appropriate reviewers.</li><li>If editors suspect the use of generative AI in a submitted manuscript or a submitted referee report, they should conduct an editorial review of the matter and consider the policy.</li></ul>

4. BOYUT Journal of Media and Cultural Studies 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>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">the Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and <a href="https://www.wame.org/" target="_blank">the 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 parties involved in the publishing process (Editors, Reviewers, Authors and Publishers) are expected to agree on the following ethical principles.All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and 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 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. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

The journal 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.<ul><li>Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design, and conducting the research.</li></ul><ul><li>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.</li></ul><ul><li>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.</li></ul><ul><li>Research participants should participate in the research voluntarily, not under any coercion.</li></ul><ul><li>Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.</li></ul><ul><li>The independence of research must be clear; and any conflict of interest or must be disclosed.</li></ul><ul><li>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.</li></ul><ul><li>If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.</li></ul><ul><li>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.</li></ul>

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 study 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 study 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/JTA6CLJ8T5/6DBF496D164A4C839B5BA9ED09410AC3" 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 to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to identity 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

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 external referees from abroad or from Turkey. After accomplishing necessary revisions requested by referees, the authors resubmit the manuscript by highlighting the changes made. Publication decisions are made by Editor-in-Chief after authors make necessary revisions requested by referees and the peer-review process is completed.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 conclusions justified by the results?- Are adequate references made to other studies 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 to journal’s e-mail: <a href="mailto:4.boyut@istanbul.edu.tr" target="_blank">4.boyut@istanbul.edu.tr</a> and it 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/JTA6CLJ8T5/96884E1BA9924F12AF7F79821E4CC052" target="_blank">title page</a>, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D07AE2AB72424286AB59F6582DCAF47A" target="_blank">author form</a>, and <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/FB3EEFF5631F4A318D47EE4693B16731" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors.<ol><li>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 11 font size and line spacing of 1.5.</li><li>A title page including author information must be submitted together with the manuscript. The title page is to include 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).</li><li>Before the introduction part, there should be an abstract between 200 and 250 words in English and an extended abstract only in English between 600-800 words, summarizing the scope, the purpose, the results of the study and the method used. Underneath the abstracts, 5 keywords that inform the reader about the content of the study should be specified in Turkish and in English. Extended abstract in English is mandatory only for manuscripts in Turkish.</li><li>The manuscripts should contain mainly these components: title, abstract and keywords; extended abstract in English, sections, end notes and references.</li><li>Tables, graphs, and figures should be given with a number and a defining title.</li><li>The 6th version of the <a href="http://www.apastyle.org" target="_blank">APA 7 (American Psychological Association) </a>reference style should be used for in-text citation and references list.</li><li>Authors are responsible for all statements made in their study submitted to the Journal for publication.</li></ol>

Author Guidelines

4. BOYUT Journal of Media and Cultural Studies complies with APA (American Psychological Association) style 7th Edition for referencing and quoting. For more information:- American Psychological Association. (2020). Publication manual of the American Psychological Association (7th ed.). APA.- <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>The author(s) are responsible for the accuracy of the references. All sources should be cited in the text. Below given examples should be considered in citing the references.Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same paranthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;In references with three or more authors, valid for the first use; (Ailen et al., 2000)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Basic Reference TypesBooka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İletişim Yayınları. (Original work was published in 1990, 7th Edition.)c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation.  McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Twenty AuthorsKalnay, E., Kanamitsu, M., Kistler, R., Collins, W., Deaven, D., Gandin, L., Iredell, M., Saha, S., White, G., Woollen, J., Zhu, Y., Chelliah, M., Ebisuzaki, W., Higgins, W., Janowiak, J., Mo, K. C., Ropelewski, C., Wang, J., Leetmaa, A., . . . Joseph, D. (1996). The NCEP/NCAR 40- year reanalysis project. Bulletin of the American Meteorological Society, 77(3), 437–471. <a href="http://doi.org/fg6rf9" target="_blank">http://doi.org/fg6rf9</a>d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26-38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). 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Issue Type	Regular
Editor(s)	Emine Yavaşgel

Issue Type	Regular
Editor(s)	Emine Yavaşgel

4. BOYUT Journal of Media and Cultural Studies

ISSUE 25, 2024

ISSUE 24, 2024

METRICS