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Turkish Cinema
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Housing Architecture and Design From the Past to the Future
Housing Architecture and Design From the Past to the Future
Social Trauma and Telecinematic Memory
This book explores responses to authoritarianism in Turkish society through popular culture by examining feature films and television serials produced between 1980 and 2010 about the 1980 coup. Envisioned as an interdisciplinary study in cultural studies rather than a disciplinary work on cinema, the book advocates for an understanding of popular culture in discerning emerging narratives of nationhood. Through feature films and television serials directly dealing with the coup of 1980, the book exposes tropes and discursive continuities such as “childhood” and “the child”. It argues that these conventional tropes enable popular debates on the modern nation’s history and its myths of identity.
Roman Catholicism in Fantastic Film
The intersection of religious practice and theatricality has long been a subject of interest to scholars. This collection of twenty-two critical essays addresses the relationship between Roman Catholicism and films of the fantastic, which includes the genres of fantasy, horror, science fiction and the supernatural. The collection covers a range of North American and European films from Dracula and other vampire movies to Miracle at Fatima, The Exorcist, Danny Boyle's Millions, The Others, Maurice Pialat's Sous le Soleil de Satan, the movies of Terry Gilliam and George Romero's zombie series. Collectively, these essays reveal the durability and thematic versality of what the authors term the "Catholic fantastic."
Rape-Revenge Films
Often considered the lowest depth to which cinema can plummet, the rape-revenge film is broadly dismissed as fundamentally exploitative and sensational, catering only to a demented, regressive demographic. This second edition, ten years after the first, continues the assessment of these films and the discourse they provoke. Included is a new chapter about women-directed rape-revenge films, a phenomenon that--revitalized since #MeToo exploded in late 2017--is a filmmaking tradition with a history that transcends a contemporary context. Featuring both famous and unknown movies, controversial and widely celebrated filmmakers, as well as rape-revenge cinema from around the world, this revised edition demonstrates that diverse and often contradictory treatments of sexual violence exist simultaneously.
Migration, Dislocation and Movement on Screen
Contemporary screen industries such as film and television have become primary sites for visualizing borders, migration, maps, and travel as processes of separation and dislocation, but also connection. Migration, Dislocation and Movement on Screen pulls case studies in film and television industries from throughout Europe, North Africa, and Asia to interrogate the nature of movement via moving images. By combining theoretical, interdisciplinary engagements with empirical research, this volume offers a new way to look at screen media's representations of our contemporary world's transnational and cosmopolitan imaginaries.
Poetics of Slow Cinema
This book discusses slow cinema, a contemporary global production trend that has recently gained momentum in film theory and criticism. Slow films dispense with narrative progression in favour of a contemplative mood, which is stretched out to the extreme in order to impel viewers to confront cinematic temporality in all its undivided glory. Despite its critical reputation as an oblique mode of film practice, slow cinema continues to attract, challenge and provoke audiences. Focusing on filmmakers Béla Tarr, Tsai Ming-liang and Nuri Bilge Ceylan, this book identifies nostalgia, absurd humour and boredom as intrinsic dimensions of slow cinema and explores the ways in which these directors negotiate local filmmaking conventions with the demands of a global cinephile niche. As the first study to treat slow cinema both as an aesthetic style and as an institutional discourse, Poetics of Slow Cinema offers an illuminating perspective on the tradition’s historical genealogy and envisions it with a Janus-faced disposition in the age of digital technologies—lamenting at once the passing of difficult, ambiguous modernist film and capitalizing on the yearning for its absence.
