Cinema Studies is a comprehensive book that, is hoped, will provide students and researchers with film studies and other persons interested in cinema with a useful reference book on film analysis and, where relevant, the different discussions surrounding that. The contributors analyze some films using ideas and concerns from modernism, cinematographic narrative, ideology, propaganda, migration, nomadism, and the sense of revenge. The book provides new insights into films and turns the discussion towards recent research questions and analyses, representing and constituting in each contribution new work in the discipline of film text analysis.
Therefore, each chapter of this book, which consists of 9 chapters, consists of works that subordinate film, the art of imagination, to the holistic comprehension of social theory by transforming the visible and perceptible reality of the social world into a magical atlas of sealed moments. A summary of the chapters included in this timely book is discussed below.
Chapter 1, by Kenan Subasi and Alev Fatos Parsa, examines the technology of VR Cinema and 360 Degree Film, which is the extension of interactive cinema, focusing on the new media’s change, transformation, and opportunities. Authors examine the short film Refugee Crisis in the context of the 360-degree film; the position of the director, the part of the audience, 360-degree framing and orientation, dynamic narrative structure, and transformation from the audience to the user were evaluated in terms of form and content. Authors stress the fact that the VR cinema and 360-degree film technology is in a transitional phase today.
Chapter 2, by Sedat Cereci, evaluates cinema as an illusion-based technique and an approach with fascinating results. The author analyzes the effects of cinematic time on human psychology by focusing on cinematic time, which creates a fascinating impact on cinema. The author stresses the fact that the cinematic time reveals the turning points of the lives of the characters in the film and the connections with the theme of the film. The author also argues that cinema time is, in a sense, the magic stick of the director.
Chapter 3, by Burak Medin analyzes the narratives of animated films, which have become mass cinema by appealing to large masses, within a social, cultural, and ideological context based on the presentation of the heroic subject and its presentation to the audience. For this purpose, it was tried to show how the subject as a hero forms his journey, which discursive structures the hero takes place in, and how the hero is built in the narrative of the animated film. It was analyzed in the light of the assumptions formulated by taking sections from the film Cars, which constitutes the study sample, in the context of Greimas’s theory that he designed based on the subject.
Chapter 4, by Selcuk Ulutas and Murat Aytas, reveals the feelings created in the audience with the sense of revenge that drives the characters (affect) imaged through Chan-Woo Park’s Oldboy film and how they produce a cinematic experience as an aesthetic strategy. Authors determine that the director stylizes the sense of revenge throughout the film through many characters as a deep philosophical problem and as a morally impeccable-looking emotion that drives the narrative of the film.
Chapter 5, by Ahmet Oktan and Tugba Elmaci, explores migration, nomadism, and transgression of borders in the film Mondo. Authors discuss Gatlif’s approach to migration and nomadicity discussed in the example of the film Mondo. In this framework, the film is subjected to a philosophic.al analysis on the axis of concepts such as migration, nomadism, and posthuman subjectivity by authors. Authors stress the fact that Gatlif, especially in the subtext of the narrative, opened the phenomenon of nomadism to the discussion in the context of its philosophical expansions and carried this process beyond the experience of transgression between people and intercultural borders.
Chapter 6, by Huseyin Kose and Zeynep Baki, focuses on why keeping the political and ideological facts related to the state apparatus out of sight by focusing on a motif that has not been dwelled on extensively before but can be considered quite specific for Demirkubuz’s cinema. The authors present some clues to the invisible and uncertain functioning of the state and ideological phenomena in general and its possible causes through the images and metaphors in the movies of Demirkubuz, using the content analysis method. They attribute the main reason for this to the low awareness of the characters about social reality. Therefore, they state that their existential concerns precede the rules that govern the social world.
Chapter 7, by Burak Turten, focuses the documentary films produced from 1896 to the present, which express the date of the arrival of cinema in the Ottoman Empire, in the context of the ideological apparatus of the state. The main purpose of the study is to examine the recent ideological structure of Turkish documentary cinema based on the Akıncı documentary film. The authors stress the fact that Akıncı documentary film is compatible with the policies of the dominant political ideology and contains national and religious elements. The relationship between film and ideology is not only limited to the content of the film, but it has also been determined that the dominant power has a direct effect on the production and broadcasting processes of the film. Akıncı documentary film functions as the ideological apparatus of the state.
Chapter 8, by Asli Yurdigul and Yusuf Yurdigul, generally questions the function of news in the cinematographic narrative. The authors specifically focus on thinking about news from a cinematographic perspective by analysis of the film Contagion. In this study, in which the film analysis model was used, firstly the news scenes in the movie Contagion were determined and then the functions of these scenes in the cinematographic narrative and the features of these functions were questioned. The authors contribute to the limited literature on the subject by examining and evaluating two seemingly somewhat distant fields such as film and news.
Chapter 9, by Ali Karadogan, focuses on modernism between two worlds in the context of the film Time to Love which is a unique example of how it defies the rules of the industrial space within, representation styles, and narrative lengths of Turkish cinema. Author discusses this rejection of Time to Love which opposed the themes, representation style, and narrative strategies of the era by analyzing the film text and evaluating it in opposition to Yeşilçam.
I would like to thank in particular Karabuk University and Northern Arizona University for giving me the opportunity to contribute to the development of the cinema discipline. I especially thank Prof. Dr. Frederick DeMicco, who has created conducive and stimulating scholarly environments.
I am grateful to Dr. Muhittin Cavusoglu who compiled the index, for assistance. I also wish to record his enormous gratitude to Dr. Aysegul Acar who has worked tirelessly on this project, for her generous support, patience, and assistance throughout the process.
In conclusion, I would also like to thank all authors who contributed to the production of this essential and timely book. I believe the chapters included in this book offer useful and important information for researchers, students, and practitioners in the context of cinema