This study shows the shift in meaning generation across time in Turkish cinema by comparing genre films of the 1960s (Yesilcam, or Green Pine cinema) and parody films of the new televisual production regime in Turkish cinema of the 2000s. At the intertextual level popular Turkish film parodies of the twenty-first century expose and ridicule a discourse of modernity by creating a critical intertextuality with classical Turkish film genres of the 1960s and popular Hollywood cinema in the new millennium. The use of critical intertextuality can be essential as a discursive tool to reconstruct a national cinema's genres and to understand its changing viewer modality through a historical perspective. Through looking at how film parody reinterprets genre films, this study also identifies a new mode of film and media production in Turkey.
|Place of Publication||Saarbrücken|
|Publisher||Lambert Academic Publishing|
|Number of pages||248|
|Publication status||Published - 13 Jul 2010|
- Turkish cinema
- film studies
- third world