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Yayın The counter hegemony area of past extended to present on the axis of the memory: documentary film(Nüve Kültür Merkezi, 2021-05) Şeylan, Seher; Ögeyik, Muhlise Coşgun; Uzun, Kutay[No abstract available]Yayın Shifting from national channels to digital platforms: an examination of limitations on creative practices in Turkish serial production(Ege Üniversitesi, 2020-12-30) Yörükoğlu, Ayşe; Akçalı, ElifThis study focuses on the changes in creative production practices of Turkish television serials in the last decade due to the expansion of Turkish television serial industry and the fairly concurrent launch of three video-on-demand platforms, Netflix Turkey, puhutv and BluTV. The range of genres, characters, narrative structures and stylistic choices in the serials produced for these platforms is broader compared to others that are broadcast on national television channels; whether the changes on these new screens are reflected as transformations in the production practices remains a question to be answered. This paper investigates the structures of serial production processes and their limitations on creativity by means of an outlook of an analysis of actors that affect production decisions, including producers, channels, and audiences, and interviews with the creative people who actually produce the end products.Yayın Armenian identity in the Turkish and American documentaries through images(2017-10-06) Şeylan, SeherWhile cinema carrying the social values of past to present, it is also leading up the embodiment of the dominant perception shapes the present. In this regard, the representation of reality has much importance in the documentaries which particularly have culture, identity and belonging bonding. Documentary, as a part of its difference from fiction in line with reconstruction of reality, is a cultural product. While this product emerges, the reality is often interpreted with stereotypes, prejudices, negative political, cultural and social images. The identity representation about „we? or „other? is reflected with various events, connections and the past. On the other hand, the using of past of social groups, for supporting the ideas they believe in and achieving their goals, has a great role in terms of expressing their opinions in public. At this point documentaries are the areas where the producer-director reveals his/her opinions and emotions. Those personal feellings and opinions are often reflection of collective memory shaped by data of social past. The aim of this study is to analyze on which images the Armenian identity is constructed in the American and Turkish documentaries and the shaping of the representation of Armenian identity on what kind of rhetorics and visuals. Armenian identity will be examined from the perspective of imagology by the method of discourse analysis. Any intangible and tangible image that is used to represent the Armenian identity will be solved with the help of the discourse analysis. In this study, where the image, which contains a fictional structure is used to represent the Armenian identity, the references made by the director while using images to the past, history and values of the community he/she is in, are accepted as the main source of the analysis. It has showed that the perception, brought with historical events contains tension and conflict between Turks and Armenians from 18th to present, is reflected in the cultural products.
