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|
Bibliographical noteReference text: Akser, M. (2001) The Return of the Repressed : Critique of Turkish Modernity in Halit Refig's Films. Unpublished Ma Thesis. York University
Akser, M. (2009). Yılmaz Güney's Beautiful Losers: Idiom and Performance in Turkish Political Film. In Bayrakdar, D. (Ed.). (2009). Cinema and Politics: Turkish Cinema and New Europe. Cambridge Scholars.pp 142-153.
Arslan, S. (2011). Cinema in Turkey: A new critical history. Oxford: Oxford University Press.
Basutçu, M. (1996). Le cinéma turc.Paris: Centre Georges Pompidou.
Dönmez-Colin, G. (2008). Turkish cinema: identity, distance and belonging. Reaktion Books.
Erdogan, N., & Kaya, D. (2002). Institutional intervention in the distribution and exhibition of Hollywood films in Turkey. Historical journal of film, radio and television, 22(1), 47-59.
Erdogan, N. (1998) “Narratives of Resistance: National Identity and Ambivalence in the Turkish Melodrama between 1965 and 1975” Screen, 39(3): 259-271.
Erdogan, N. (2002). Mute bodies, disembodied voices: notes on sound in Turkish popular cinema. Screen, 43(3), 233-249.
Harris, S. (2008). Turkish Popular Cinema: National Claims, Transnational Flows. International Journal of the Humanities, 6(3).
Kaplan, Y. (1997). Turkish Cinema. In John Hill ed. The Oxford History of World Cinema. Oxford University Press.
Refig, H. (2001). Should Turkey Look East?. New Perspectives Quarterly, 18(4), 85-92.
Smith, I. R. (2008). The Exorcist in Istanbul: Transnational Processes of Intercultural Dialogue within Turkish Popular Cinema. PORTAL Journal of Multidisciplinary International Studies, 5(1).
Smith, I. R. (2008). " Beam Me up, Ömer": Transnational Media Flow and the Cultural Politics of the Turkish Star Trek Remake. The Velvet Light Trap, 61(1), 3-13.
Robins, K., & Aksoy, A. (2000). DEEP NATlON: The national question and Turkish cinema culture. Cinema and Nation, 203-221.
Suner, A. (2010). New Turkish cinema: belonging, identity and memory. IB Tauris.
Teksoy, R. (2008). Turkish cinema. Oğlak Yayıncılık.
Yalvac, A. (2001). A cultural critique of Turkish cinema in relation to" Arabesk" (Doctoral dissertation, The University of Hong Kong (Pokfulam, Hong Kong)).
- Turkish cinema
- film studies
- third world