Ayşe

Phenomenologists who focus on the bodily aspects of the film experience bring to the fore the method that views the cultural and historical aspects of film as two mutually positioned subjects or objects of view, in contrast to device theory which considers the viewer as the victim of the cinematic apparatus. These phenomenologists contend that art can only be created through experience and that subjective experience is what matters most. The ability of cinema to convey meaning through image and sound has overshadowed other senses, but cinema is an artistic discipline that actually engages all senses. This theory views film as a type of touchable skin that can be experienced through the eyes, with the embodied images giving the audience’s perception and the movie-going experience a multi-sensory framework. The eyes call the other senses into memory after viewing the image, and audiences move their eyes closer to the screen as they watch a film. With respect to the study, haptic visuality refers to a type of perception that alters the viewer’s perspective from one of distance to one of proximity, enabling the viewer to approach the film as if it were skin and to experience close-ups, camera movement, lights, colors, and other cinematic possibilities. When watching a film with this way of seeing, the hegemony of the sense of sight has been proposed as being overthrown with other sensory states including touch, smell, taste, and kinesthesia being activated.Laura Marks’ (2020) haptic visuality theory is based on this idea, according to which the audience and the film are two distinct bodies placed opposite one another. In haptic visualization, the eyes behave just like the organ of touch. As the opposite of optical vision, haptic vision has the body more involved in the vision process. This study raises the issue of how films also reveal non-visual senses as a multi-sensory experience area in this reciprocal interaction, with this conceptual framework having been formed by Marks’ (2020) ideas. The study first evaluates the development of haptic visuality theory and the historical multi-sensory film experience before analyzing Enyedi’s (2017) film On Body and Soul (Testről és lélekről), which demonstrates the potential for haptic visuality. The conflict between touch and non-touch is the main theme of the film. The study’s themes include close-up shots and the use of light and color elements to bring the viewer closer to the skin of the film, breaking the hegemony of sight and enabling an inter-sensory viewing experience. The study also discusses how the film itself can be considered tactile. Together with the sense of sight, hearing is another fundamental sense that has given rise to cinema. The study addresses the emotion the music usedin the film evokes in terms of the character and the audience during the film analysis; however, hearing could not be detailed because the sound element in the film lags behind other elements. On Body and Soul is a film that demonstrates “how much is under the surface,” in the words of its director Ildikó Enyedi (2017). This work aims to reveal what is hidden under the surface. The study’s analysis of the film On Body and Soul qualifies it as a haptic film because it appeals to the senses of sight, touch, taste, smell, and kinesthesia. However, the film encourages synesthesia through its depictionsof multisensory perception. The music the audience hears, the colors that envelop the environment, the taste of the leaves the deer eat with their mouth movements, and the characters’ inner suffering all help the audience feel cold and heat. The use of closeups and wide-angle shots in the film enhances the viewer’s perception of space. The study’s findings encourage future research on haptic visuality and intersensory experience in cinema and advises that synesthetic and kinesthetic experiences in films that can emphasize the value of auditory elements be given priority in their analyses.

Haptic Visuality and a Multi-Sensory Film Experience: On Body and Soul

Deniz

The Polish director Krzysztof Kieślowski mentions about a story that he saw an elephant in the street when he was five or six years old. He also adds that there were no reason why, in 1946, after the war, an elephant should appear in Poland, where it was hard even to get potatoes. Krzysztof Kieślowski’s elephant story reveals his attitude towards the mystical existence of the inexpressible. The inexpressible reveals itself to a metaphysical subject. In other words, the inexpressible can only be grasped from the point of view of the metaphysical self. The figures of the father and aunt, the protagonist in the first episode of Dekalog (Dekalog, jeden, 1988), present the point of view of two different subjects toward the world. While the father sees the events from the point of view of the empirical self, the aunt approaches the events from the perspective of the metaphysical self. The director’s attitude is actually aimed at recognizing the differences between both points of view because the empirical and metaphysical selves are part of the same world. While some events require the perspective of the empirical self, other events require the perspective of the metaphysical self. For example, the event of death, which forms the basis of the episode, cannot be grasped simply from the point of view of the empirical self. The father realizes the inadequateness of the empirical self’s point of view towards death only when it comes to his own. The investigation in Episode 1 of Dekalog opens one up to the idea that the subject must grasp the world as a limited whole. Upon doing so, values such as ethics and religion emerge that form the basis of the episode. The empirical self’s understanding of the world is incapable of sensing the transcendent. Life is almost separated from these two by their different perspectives. Only one subject is present, but two points of view occur within this subject. The sharp boundary between facts and values is drawn here. Facts should be conceived as facts; in this respect, they should not try to cross into the realm of values for by its very nature, all such attempts will hit their limit and return. The field of values, on the other hand, should recognize the boundaries drawn from the world of facts. Again, whatever from the field of values in an attempt to enter the field of facts is doomed to return from the borders.The television miniseries Dekalog, shot by Polish director Krzysztof Kieślowski (1988) for Polish Television, forms a loop consisting of the stories of unrelated characters that are shaped around a theme, as opposed presenting an episodic structure in which the same characters one is accustomed to in a television series being present in consecutive episodes. The 10 Commandments, inspired the miniseries, and deals with the violations of the boundaries drawn for human life, with each episode addressing one of the 10 Commandments, and the difficult situations the characters encounter within these boundaries in this context. The first episode forms the center of a loop that unfolds throughout the series. The reason for this is faith in God, which is the starting principle of the field of values imposed by all 10 Commandments. In this respect, Kieślowski, investigates the structurally inviolable boundaries between values and facts while dealing with the imposition of the rational point of view in the form of a false God in the opening episode of the series. The aim of this study is to examine the first episode of Decalog with reference to the relations between facts and values, in order to reveal the structural differences between these fields and the director’s approach to these relations. The theoretical basis of the study consists of the ideas in Ludwig Wittgenstein’s (1921) early work Tractatus Logico-Philosophicus, which examines the structural differences between the fields of facts and values through the method of language criticism. Wittgenstein, grasped the world as a limited whole and drew sharp boundaries between facts and values based on language in his early period. The current study discusses the relations between the facts and values that form the center of the narrative on the basis of language criticism, with the narrative of the first episode of the television miniseries Dekalog: One serving as canon.

Understanding the World as a Limited Whole: Facts and Values in the First Part of Krzysztof Kieślowski’s Television Miniseries Dekalog

Seçil

Kutluhan

As universal and interrelated concepts, death and time have always been central issues in the fields of philosophy and art. With the power to produce images, cinema has perhaps provided the most suitable grounds for rethinking this common theme again and again. Directed by Engin Ayça, It Was Cold and Raining (Soğuktu ve Yağmur Çiseliyordu, 1991) is an original work of Turkish cinema that presents a subtle depiction of the concepts of death and time as the common denominators of humanity. However, when scanning academic articles and theses, no previous work is observed to have been done on It Was Cold and Raining. Very few reviews were actually written about the film. In fact, the film is a unique example of Turkish cinema, as it discusses philosophical topics. As such, the audience in a causal viewing experience may not be able to understand the real topics, because what makes this movie valuable is its philosophical themes. This study stems from the gap in the literature on this film and aims to analyze the signs, images, and content in the film through philosophical concepts to make a meaningful whole. Based on this aim, the study applies the semiotic method to analyze various concepts such as death and time, alienation, persona, and regret, as well as their references in the philosophical literature, using a theoretical framework. The study then follows these concepts as themes and patterns and analyzes them in the narrative of the film, accompanied by an investigation into the connotations, metaphors, metonymies, and conflicts in the film, as well as into the manifestations of philosophical concepts within the film’s content. Therefore, the philosophical concepts will be used to find answers to the following questions:• What can be seen when analyzing the story of the film It Was Cold and Raining in depth through a semiotic analysis in terms of its content?• What are the film’s connections to philosophical theories, especially those from Heidegger, Jaspers, Bergson, and Scheler regarding such things as death, authentic existence, time/duration, memory, and regret? How do the concepts mentioned in the philosophical literature themselves appear in the story, and what are their patterns?The study uses the semiotics method in order to answer these questions and trace the patterns of meaning in the film through these concepts. While applying the semiotic analysis, the study follows the metaphors, metonymies, and conflicts and in particular reveals the appearance of philosophical concepts belonging to Heidegger, Jaspers, Bergson, and Scheler in the film.Accordingly and as Jaspers would say, Cemal Bey’s death is seen to be a limit situation (‘grenzsituation’) for Leyla Hanım. She distances herself from everyday life for a long time as she faces death and realizes she has been living as her persona. As Martin Heidegger would say, the anxiety (‘angst’) of death confronts a person with their inauthentic existence, and through Cemal Bey’s death, Leyla Hanım becomes aware of the nothingness in her own untrue existence. Thus, she opens herself to the possibilities of her new true existence.Because of regret, however, Leyla Hanım could not stop herself from recalling her memories with Cemal Bey. As Max Scheler would say, though, regret is not an obsession. On the contrary, it is therapeutic. The regretful person becomes open to change and leaving their old existence. For this reason, the Leyla Hanım at the beginning of the movie is not the same as the Leyla Hanım at the end. Through her awareness of mortality, Leyla Hanım reaches an authentic existence.When analyzing the film temporally, linear time is seen to be corrupted both formally and contextually throughout the story. The corruption of linearity is shown through the use of flashbacks. Thus, the past becomes integrated with the present. Moments are not only in the present, and the past flows into the future as a part of the present. The film shows how Leyla Hanım is living in an inner sense of time. This conception of inner time can also be traced through the philosophies of Heidegger and Husserl; 	however, the Bergsonian concept of time provides a much more favorable context with memory. For Bergson, memory, being identical with duration (‘durée’), is a fundamental part of the soul and identity. Throughout the story, the audience watches memory images of Leyla Hanım’s own existence. These memory images involve the appearance of pure memories that preserve the past in the present and carry it into the future. Thus, in the stream of images of consciousness, duration cognizes directly. Only with this direct awareness is Leyla Hanım released from her persona and able to begin her authentic existence.

Semiotic Analysis of the Movie It Was Cold and Raining Through the Concepts of Death and Time

This study has selected Selman Nacar’s 2021 film Between Two Dawns as a case study due to the use of plan sequences throughout the entire movie. The study aims to use a reception analysis to examine how reality is constructed of through the use of plan sequences in cinema in the case of Between Two Dawns. The study contributes to the literature by how it examines the film in the context of an audience reception analysis.The study seeks answers to six questions:RQ1: What is the relationship between plan sequence usage and reality in the case of Between Two Dawns?RQ2: What plan sequences are used in the case of Between Two Dawns?RQ3: How does the audience perceive plan sequences in the case of Between Two Dawns?RQ4: Does the use of plan sequences liberate the audience in the case of Between Two Dawns?RQ5: What are the cinematography preferences in the case of Between Two Dawns?RQ6: From whose point of view does the audience experience the story in the case of Between Two Dawns?The literature section of the study presents the history of realism in cinema, realistic film theory, and plan sequence titles. In this context, the camera provides the link between cinema and realism. According to Armes (2019, pp. 17-18), the images a camera records are images where successive processes are recorded in the form of movement in real life, which is why cinema has the potential for realism. Cinema started with the Lumière Brothers’ invention of the Cinématographe, and they recorded everyday life with this device, which could both record and show what was recorded (p. 23). Georges Méliès’ narrative films introduced fiction narratives into cinema, and cinema has been shaped by two basic traditions: formalist and realist film theories. Realist film theory states that technical innovations in cinema bring cinema closer to reality, thus making cinema an art. According to André Bazin (as cited in Andrew, 2010, p. 229), cinema is the art of truth because it displays the spatiality of objects and the space in which they exist.Because this article conducts a case study, the research has no population or sample. This case study examines Nacar’s 2021 film Between Two Dawns, which consists entirely of plan sequences. The study uses two methods. The firstly is a thematic analysis of the scenes in which the film uses plan sequences, with the variables accordingly being determined and analyzed. The study chose the reception analysis approach as its second method in order to analyze the relationship between the plan sequences and reality from the audience’s point of view. The in-depth interview technique was used to conduct a structured interview with a 10-person audience by having them watch the film.The audience reception study used homogenous sampling, which aims to identify a distinct sub-group by creating a small, homogenous sample (Şimşek &amp; Yıldırım, 2018, p. 120). The study selected 10 viewers between the ages of 26-35 who studied cinema at the university level as an undergraduate or graduate in order to define the relationship between the plan sequences and reality within a certain subgroup of cinema-educated people. The obtained data were then analyzed descriptively.The film uses plan sequences to deepen reality and keep the audience engaged with the story. These plan sequences simply reveal the reality of the story. Because time and space are not separated, the audience gains a greater perception of reality. Due to the low camera movement, the audience is positioned as witnesses to the scene.	The film also uses plan sequences to provide rhythm. As the camera objectively follows the story, the audience becomes a witness as a third set of eyes watching without identifying with any character. The plan sequence gives the film the impression of a documentary and makes the viewer believe in the event by creating a sense of reality. Cinematographically, the camera has an objective gaze. As for shooting scale, the film prefers generals over close-ups and creates depth of field within these plans. The camera is used with mobility and follows the actors in terms of emotion, rhythm, and movement. This pursuit brings the film closer to reality. According to the shooting scales used in the plan sequences, the study has concluded that, while a sense of freedom is present in the general plan, narrower frames such as the medium full shot and medium closeup shot replace freedom with a sense of restriction.

The Use of Plan Sequence in the Construction of Reality: A Reception Analysis of Between Two Dawns

Fatih

This study aims to analyze the developing shots in Andrey Zvyagintsev’s (2007) movie The Banishment and find out how they contribute to the narrative cinematographically. The questions addressed for this main goal, as well as the answers obtained through the analyses are presented below.Which elements do the developing shots create in the scenes that have been chosen as representations of the movie? The first thing that can be said to be seen as elements that create developing shots involve mounted and supported movement, such as traveling/tracking and boom shots. Some equipment such as a dolly and crane can be seen to have been used to create these movements. Panning and tilting movements, as well as mixed movements where these are used together, are also seen to have been used; non-simple actor movements are also used as an important constituent element in each scene and are seen to play a role in advancing the scene. Although not used as often as other elements, lens movements such as changing focuses are also seen to have been used.How do these elements in developing shots relate to the script? In Scene A where the interior of the country house is seen for the first time, an allusion is made to the situations that will happen in this house through the sliding movement within the developing shot. This turns the house into a character of the movie. The families that lived in this house, such as Alex’s parents, Mark’s family, and Alex’s family, have the same destiny according to the script. A partnership can also be said to have been established between the script and camera movement, such as the unity of the families’ fates and allowing the audience to associate this negative situation with the house. The use of these elements in the interior scenes of the country house where a significant part of the script takes place alongside the opportunities presented by the interior scenes having been created specifically for the film in the set environment, such as the ability to see the walls through uninterrupted shifts in the transitions between rooms, makes the house an important part of the story through the uninterrupted continuity. This is in opposition to focusing on events or actors with cuts. The similarity of content in the conversations between Kir and Flora in Scene C and between Alex and Vera inScene D and the location and elements used in the staging being almost the same interconnect these two scenes and conversations and lead the audience to an understanding of the scriptural abstraction implied by the technique. Lastly, the use of a developing shot based on the example in Scene I visually supports the deep structure of the script, one which should not be rushed but should be connected by allowing time to pass; it makes the audience aware to think like the director aimed to. In light of all these determinations, the bond developing shots establish with the script are seen to significantly improve the presentation of the story.When comparing the developing shots used in this film with one another in the context of the scenes, do they contain any certain consistency in terms of their emotion, situation, or visualization? They can be said to have some common aspects. Scene A and Scene H respectively show the interior of the country house for the first and last time and present the house as a character of the movie. This makes the audience focus in Scene A, Scene E, Scene H, and Scene I by implying the abstract and understand the meaning in the scene by giving the time with staging. Clearly common usages have also occurred, such as the continuous presentation in real time without disturbing the spatial integrity through Scene B, Scene F, and Scene H. Developing shots can also be said to have been used for common purposes, such as showing without interruption the emotional state and tension of the characters in Scene B and Scene F. When viewing Scene C and Scene D, other common uses are seen to have occurred in terms of space, technique, and presentation of the content. These scenes also show common usage in terms of making a monotonous dialogue scene interesting through actor movements, mounted and supported camera movement, and characters entering and leaving the frame. When viewing the developing shots in Scene G and Scene K, common usages can be said to have occurred in terms of how characters’ facial expressions are presented uninterruptedly at the points where they are important regarding real time and movement integrity.

Developing Shots and Their Effect on the Narrative in The Banishment

Aslı

Cinema and video games are forms of visual media. Therefore, their similarity is inevitable. Journalist Roger Fidler (1997) explained this with the term “mediamorphosis,” while Henry Jenkins (2019) called this “convergence.” The most basic common point of the definitions is the cooperation between the two forms. During the COVID-19 pandemic in particular, the closure of movie theaters and the need for individuals to interact have led to the popularity of video games that offer the opportunity for active participation. Video games have approached cinema not only from a visual point of view, but also in terms of script. Global cinema box office revenues were $26 billion in 2022. While this represents a 27% increase compared to 2021, this amount is far behind pre-pandemic levels. Meanwhile, Newzoo, a provider of statistical data on the gaming industry, published a report (Wijman, 2022) on July 26, 2022, predicting that there will be 3.2 billion players worldwide by the end of 2022 and that these players will help the global gaming market earn $196.8 billion in 2022, an annual increase of 2.1%. Cinema’s inability to provide audiences with active participation and its audience passivity has raised certain criticisms. Some of these criticisms and comparisons include the Chief Executive of CCP Games Hilmar Pétursson’s statement (Baraniuk, 2020), “Netflix and all that is good for passing time, but that doesn’t really give you a social context. And people are craving a social context” and creative director Sam Lake’s statement (Tsukayama, 2016), “It gives you a very different experience… because there is a player agenda that you can choose to ignore some of the content or even explore further.” These critiques have led to the emergence and increase in the number of adaptations and transmedia narratives. Jenkins (2019, p. 19) similarly defined convergence, saying, “By convergence, I mean the flow of content across multiple media platforms, the cooperation between multiple media industries, and the migratory behavior of media audiences who will go almost anywhere in search of the kinds of entertainment experiences they want.”Video games strive to offer a real experience with real scenarios and are visually enriched with a reality that is increasing daily. Visually, all the scenes in a video game can always be recreated in its movie version, and all the scenes in a movie can be recreated in its video game version. Some techniques are used to convey action and emotion as close as possible to reality. Lately, motion capture has become the most important of these techniques. Motion capture enables the process of transforming a live performance into a digital performance through sensors, strategically placed reflective dots, and more than 30 cameras. The success of motion capture technology is equivalent to an actor’s performance, and an actor’s professional experience is important for filming. Thus, motion capture actors these days have been replaced by familiar faces from the big screen. Hollywood stars have already appeared as voice actors in video games. Lately, video games have also had equal or bigger budgets than the cinema industry. Video games were also accepted as an art form after cinema. An artist who serves any form of art should first contribute to the growth and development of their own art and then do the same for other forms. This is why Hollywood stars have taken a step into video games. Names like Keanu Reeves, Norman Reedus, Mads Mikkelsen, Rami Malek, and many more have already played roles in the gaming world.This study explains the other motivations well-known actors have had for taking place in video games under four categories: new career opportunities, fame and longterm recognition, industry revenue and the win-win situation, and media reflections. Keeping up with changing media platforms is important for intergenerational recognition, and an actor needs to be in the right place at the right time. When examined within the framework of sectors, producers, and actors, blurring the lines between media forms can be said to be profitable for everyone. The same goes for the events in both sectors. For example, BAFTA for the first time gave a game award in 2004. Likewise, the Game Awards have hosted Keanu Reeves, Christopher Nolan, and Gal Gadot as presenters. To paraphrase Jenkins (2019, p. 19), fans in this intermedia environment go almost anywhere to play a game in which their favorite actor appears or to watch a movie with an actor from a game they know. The research this study has examined within the framework of convergence culture is important in terms of sectoral enrichment. However, enrichment should not be considered only in material terms. The enrichment and diversification of content lead the way to potential productions, and the increasing number of productions should be considered to also lead the way for possible collaborations both within and between sectors.

How Traditional Professions Have Transformed with New Media: From Cinema Acting to Video Games

Oğuzcan

Sucker Punch (2011) was directed by Zack Snyder and is his first original production not based on source material. The film has also been the subject of intense debate since its release. In this context, two sides to this debate can be said to exist. The first side is the view, supported by Snyder and those who think like him, that the film contributes to female empowerment. The second side argues that the film contains elements of misogyny and fails to substantiate Snyder’s claim. Both views provided examples to support their arguments, and the film thus became the subject of feminist debates for a certain segment of the audience. Naturally, these feminist debates have been related to the concept of the male gaze in the context of nudity, the most fundamental element in the film. How women are positioned within the visual narrative has often been claimed to objectify them. Therefore, one can equally argue that this objectification aims to provide desire satisfaction for the male gaze. At this point, outlining the concept of the male gaze needs to occur first. The paradigm of the concept, which considers women as objects and men as subjects, stands out as the most important issue. The natural consequence of a mechanism that accepts viewers as male is the transformation of women into sexual objects being presented to them. The one-sided, male pleasure-oriented nature of the male gaze makes it the target of feminist criticism. The feminist psychoanalytic cinema criticism that gained momentum after the text written by Laura Mulvey (Visual Pleasure and Narrative Cinema, 1975) has paved the way for rethinking the relationship between film and audience in favor of women. The male viewer, isolated by the movie theater, is positioned as the subject who dominates his object due to the film satisfying the male gaze. In this way, the male reinforces his power over the female. Moreover, every time he identifies with the male character in the visual narrative, the idea ossifies of seeing the woman as an object obliged to fulfill his desires. The stronger the male character dominates the female character, the more likely the male gaze is to be satisfied. However, even if the female character is not under the pressure of a male character that the male audience can identify with, she may satisfy the male gaze in terms of her appearance. The female figure is put on display and shaped according to male fantasies. Sucker Punch contains many examples of this perspective and seems to have been produced for the male gaze. Of course, the director and those who think like him do not accept these claims. According to them, the fact that the women in the movie are sexy and take part in action scenes indicates that they are powerful. Sexualization does not mean objectification here but rather liberation. On the other hand, critics who categorically reject this approach explicitly state how the misogyny has been aestheticized. They insist that the concept of empowerment is used as a kind of pretext, with women actually being objectified through the sexualized visions of them. Snyder has responded to all this by saying that the male audience wants to be presented with satisfying images of these sexy female characters but that the movie doesn’t give them this satisfaction. Of course, he seems to overlook the fact that the movie initiates the moment that creates these desires. The presence of many scenes that satisfy the male gaze of the male viewer who identifies with the camera seems to prove Snyder wrong. In addition, having a male character guide the battles of supposedly free women reproduces the idea that women are always in need of a man’s guidance. In addition, having women fight and win against various fantasy beings in the high fantasy layer yet be defeated by male power in the lower layers is problematic. In this context, male power appears to be unbreakable, which can only have a disempowering effect on women. The high number of rape attempts in the film and the constant threat of harassment does nothing to create a safe space for women. The male audience, on the other hand, seems to have a safe viewing space because the power of male characters goes unbroken. Sexualization and objectification seem to be the result of the film in practice, if not the actual motivation for its production. Thus, the criticisms against Snyder and his supporters can be said to be justified. The visual narrative in which women serve the male gaze can also be said to present cinematographic misogyny, contrary to the empowerment Snyder claims. Therefore, this evaluation of the film Sucker Punch along the axis of the male gaze has ultimately found the critical attitudes against it to be accurate.

Cinematography of Female Objectification from the Perspective of the Male Gaze: Sucker Punch

Muzaffer

The concept of class was first theorized by Karl Marx while analyzing the politicaleconomic issues of the 19th century. In Marx’s principle, class represents people who are economically similar. The principle has two types of classes created by the capitalist system of production and distribution relations: The first is the bourgeois class who own the capital and the means of production and the second is the proletariat or working class who work to get their wages in order to target the interests of the bourgeois class. According to Weber, economics alone does not determine class. According to him, daily life style, consumption preferences, and formal education level determine the status of human society, and the sein turn havea social impact on class. Bourdieu’s idea of class is social, and he expanded habitus with the concepts of mechanics and capital. While the only form of capital in Marx’s class logic is economic capital, Bourdieu’s principle distinguishes among four different types of capital: economic capital, cultural capital, social capital, and symbolic capital. Bourdieu’s form of cultural capital is similar to Max Weber’s concept of status. On the other hand, just as the recommendations in Marx’s economic capital should use one’s own or someone else’s labor to acquire the capital of means, so too does Bourdieu reason that social agents or groups of tools must work separately for each type of capital. Social tools struggle in separate spaces to acquire such capital, and this struggle comes from their habits (Özkan &amp; Kök, 2019, p. 1124; Cevizci, 2005, p. 1490).Bourdieu was influenced by the two thinkers who preceded him, but unlike them, he discussed the concept of class on the basis of the capitalist relations of production. He sought the concept of class in the variability of life and theorized that the concepts of habitus, capital, and space exist to do this. All these concepts interact with each other. Bourdieu not only analyzed society similar to Weber’s community based on the individuals in society, he also didn’t ignore the individuality shaped by the society in which one lives, as Marx had done.The study examines the class representations in the movie Toz Bezi (Dust Cloth, Ahu Öztürk, 2015) using Bourdieu’s class approach method. The essence of this approach involves the concepts of capital, space, and habitus. What capital types the film characters have, in which areas they struggle and what kind of habitus they have are discussed separately for his character with the elements in the structure of the film.As a result of the analysis made with Bourdieu’s class approach over the characters in Toz Bezi, Aslı and Ayten are in the middle class, and Hatun, Nesrin, and Şero are in the lower class.Although Aslı is a psychologist and has more cultural capital than Ayten. However, thanks to her economic capital, Ayten, who is not seen to have any job, is able to employ a cleaner for her home and lives in the fashion district, which is located in a place equal to Aslı’s. The reason why the two characters are in different social space is seen to be their cultural capital. While Aslı, who has more cultural capital, displays an egalitarian attitude toward her employee Nesrin, she is distant towards Ayten, Hatun, who has less cultural capital and is dominant both culturally (being Kurdish) and economically. While the library in Aslı’s house attracts attention, one understands from the dialogues that Ayten has silver table ware, and she is also seen to read books in her spare time. In addition, the common practice of these two characters is to use Istanbul Turkish. 	Hatun and Nesrin, who are from the lower class, have many of the same daily life practices. They are both Kurds. They cannot talk about sexual matters and have taboos in this regard. They live in slums, wear old clothes, don’t wear make-up, and work as day laborers. These social practices allow them to be positioned close to each other on the social spaces. Unlike Nesrin, Hatun saves money, so she has a little more economic capital. Nesrin and her daughter Asmin, who go house cleaning with little expense and whose economic capital is not enough to make a living. On the other hand, Şero is in the same position as Hatun, and the fact that the husband and wife use their economic capital together in the social space carries them to a higher point. But they are still in the same class.As a result, the most affects the social energies of the characters has been determined as ‘economic capital’ in the film. The common point of the characters of Aslı and Ayten, who are in the middle class, is that they have more economic capital and thus they can employ a cleaner. Hatun, Şero, Nesrin and Asmin characters are being in the lower class because they have low economic capital.

Interpreting Dust Cloth Through Bourdieu’s Class Approach

Arda

The script is the first step in filmmaking and guides the film crew. In filmmaking, screenplay writing plays a significant role as both a creative domain of artistic expression as well as a tool for establishing a common language of film production. Screenplay writing conventionally involves certain stages, and alternative methods have also emerged in addition to the conventional writing method. Directors such as Hong Sangsoo, Kidlat Tahimik, Lav Diaz, Lois Patiño, Pedro Costa, and Tsai Ming-Liang use different scriptwriting techniques. Alternative scriptwriting methods did not emerge just with these directors. Numerous examples are found throughout cinema history from people such as Luis Buñuel and Federico Fellini who made films without conventional screenplays 	or employed unique scriptwriting methods.While choosing the directors, this article made sure to take into account that they grew up in different geographies, cultures, and cinema universes, that they have feature films that distinguish themselves from their colleagues with their directorial preferences in the filmmaking process, and that they have revealed original film narratives. The directors this article discusses have achieved success in prestigious film festivals and reached a wide audience with their films; however, the impact their work has had regarding the innovations and different approaches to screenwriting on cinematic creativity has yet to be examined in depth.Hong Sang-soo, who combines the process of directing and screenplay writing, shapes storytelling by establishing an organic connection between the screenplay and directing. In most of Hong’s films, instead of writing detailed screenplays before filming, Hong brings his film treatments to the film set. On the day of shooting, he writes the dialogues for the scenes to be shot. The lines are then given to the actors, and the shooting begins.Kidlat Tahimik relies heavily on his personal experiences and interactions as a method for writing screenplays. He creates his scripts by drawing inspiration from his own life story and interactions, resulting in films that are filled with authenticity and personal connections. Tahimik often expresses how he does not use a screenplay when making films. For him, shooting without a script is also like making a building without a plan. Instead of establishing a preconceived structure, Tahimik strives to complete his films by surrendering to the natural flow of life. Rather than relying on a detailed working plan, he engages with what life presents and prefers to design the intricacies of the 	film during the journey.Lav Diaz prefers an organic progression in the filmmaking process rather than prewriting the screenplay and adhering to it. This organic process extends not only to screenplay writing but also to other creative aspects of film production. Although the actors have knowledge about their roles on the day of shooting, they do not see a finalized version of the screenplay beforehand. Diaz makes revisions during the shoot based on observation and experience. With this method, Diaz believes that he can direct actors more efficiently.Interviews incorporated into captured footage are commonly seen in documentary filmmaking. This extends the creative process for the director until the film reaches its audience. In search of the most suitable elements to serve the flow of the film, Patiño transforms available interviews into a poetic structure and subsequently crafts the dialogues after the film has been edited. During the post-production phase, Patiño, along with professional voice actors, dub the written dialogues, thereby steering the film away from a documentary approach toward a more fictional work.Pedro Costa’s films are built upon the natural interactions and memories that arise during the shooting process. By providing actors with no specific script, he allows them to express their own experiences and inner worlds. In so doing, he creates an instinctive and distinctive atmosphere in his films. Costa, who demonstrates a non-conventional approach to various aspects of the filmmaking process, can be seen to have carried out the shooting for his film Casa de Lava (1994) without the need for traditional writing techniques. He relied on his notes and drawings from a notebook to guide the filming process.Tsai Ming-Liang approaches the filmmaking process without extensively predetermined scripts, striving to create his works in an anxious process brought on by the unknown. As the number of films in his filmography increases, Tsai’s storytelling is observed to have become even more minimal. In his feature film Days (2020), he not only minimized the narrative structure but also reduced the filmmaking process to a minimal level. At the beginning of the film, which he shot without a screenplay, the audience is greeted with the statement, “This film intentionally has no subtitles.” By making the film subtitle-free, the viewer is placed in an observer position, prompting them to adopt an objective perspective.The archive part of the research scanned these film directors’ scriptwriting methods through interviews, news texts, books, blogs, magazines, articles, online video content, feature films, and conversations.

Cinematic Creativity Through Alternative Scriptwriting Methods: The Examples of Costa, Diaz, Tsai, Patiño, Hong, and Tahimik

Doğan

Reconciling the Traditional and the Modern: A Review of The Last Samurai

Berceste

Assoc. Prof. Dr.

And the Mirror Cracked: Feminist Cinema and Film Theory: Sunlight Seeping Through the Windows of Feminist Cinema

Şükrü

Prof. Dr.

Osakue

Osakpolor

Framing Gender Issues in Selected Nollywood Narratives

Mustafa

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

Elif

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

Modern Tragic Characters in The Banshees of Inisherin

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

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

İbrahim

Res. Assist.

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

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

Savaş

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

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

Hatice

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

Cinematherapy: Cinema’s Role in the Therapeutic Journey

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

Marc

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

Tuba

Interpretation of Multiple Personality Perception in Women through the Cinematic Universe

Engin

Generating Cinema Knowledge

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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

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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.

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

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

Author Guidelines

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

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

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

Issue Type	Regular
Editor(s)	Şükrü Sim
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