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Topic: Turkish cinema

	Turkey - Wikipedia, the free encyclopedia
		The Seljuk Turks were the first Turkish power to arrive in the 11th century as conquerors (earlier Turkish peoples such as the Pechenegs had become allies and subordinates of the Byzantine Empire), who proceeded to gradually conquer the existing Byzantine Empire with its Greek population and heritage.
		Attacks start with assassinating Turkish diplomats and bombing consulates in the USA and Europe, airports in Paris and Ankara, the Grand Bazaar in Istanbul, in an attempt to force the Turkish government to acknowledge the alleged Armenian genocide in 1915.
		The biggest Turkish pop star of the 20th century was probably Sezen Aksu, known for overseeing the Turkish contribution to the Eurovision Song Contest and was known both for her light pop music.
	en.wikipedia.org /wiki/Turkey (5993 words)

	Turkish Cinema/Movies in Turkey/Actors&Actresses (Site not responding. Last check: 2007-10-15)
		This film is a landmark in the Turkish cinema because, almost for the first time, a director tried to narrate a story while ridding himself of all that was theatrical, refusing all artifcial contrivances, asking his actors not to act in the theatre, and arriving at an original and personal statement.
		In the Turkish cinema of 1960s, the social and political developments in the national arena was reflected by a stream of social and 'committed' political influx films.
		By 1980s, the Turkish cinema was crystallized on the ambigious, incomprehensible and most authentic movies whose themes stressed on the internal contradictions or the conflicts with the social environment of the individuals sinking into their own problems.
	www.biggtravel.com /infotips/turkcinema.html (1520 words)

	Turkish Alphabet and Language
		Turkish belongs to the Turkic branch of the Altaic language family.The earliest Turkic inscriptions date from the 7th century C.E. and Islamic texts written in Turkic appear in the 11th century.
		Turkish, the language of modern Turkey, is spoken by about 60 million people.
		Turkish formerly used the same alphabet as Arabic, but has been written in the Latin alphabet since 1928 as mentioned above; since 1940, Azeri and Uzbek have been written in Cyrillic but efforts are now under way to replace it with Latin.
	www.bigglook.com /biggtraveleng/infotips/language2.asp (624 words)

	Travel Guide To Turkey, Travel, turkey, GUIDE MARTINE,Turkey, Guide, Guide Martine, istanbul, Martine, turkey photos, ...
		Two characters symbolizing the beginning of the Turkish literature in Anatolia are Mevlâna Celaleddin Rûmi and Yunus Emre who lived in Karaman and who definitevely set the poetic language: Soon after Rumi, Yunus Emre emerged as the most significant literary figure of the Turkish speaking world to spread the Sufi teachings by mystic poetry.
		Turkish men used to wear the “tülbend” - a long peace of material winded round their heads - from which the word “turban” derives, and because of its resemblance to the “tülbend”, the flower was called “tulipan”.
		With the proclamation of the Turkish Republic, a new country was born, whose identity had to be defined.
	www.guide-martine.com /culture2.asp (2263 words)

	Cinema - Turkey
		Under those conditions, the cinema of the Republic was entrusted for 17 years to the care of one man, Muhsin Ertugrul, the appointed director and experienced actor of the municipial theatre of Istanbul.
		It is also in the 1960s that the cinema would come to be seen as a rotable domain of popular culture, and cultural discusions and polemics which have always attracted intellectuals in the areas of literature, theatre and musics would find a new area just as interesting and fertile.
		For example H. Refig claimed that "the Turkish cinema was a cinema without real capital, without an introstructure, without a system of studios od modern laboratuaries but, a cinema which survived only because of the public's interest." In the late 1960s and early 1970s the fl and white film had almost completely disappeared.
	www.destination-turquie.com /acinema.htm (1553 words)

	[Islam-Online- Art & Entertainment]
		We can say that the attempts to launch the Turkish cinema industry may date back to the last years of the nineteenth century; the real start of that industry was a little late in coming.
		Turkish cinema has had its own independent character since its birth, despite the fact that its beginning partially coincided with of the outbreak of World War One.
		The first cinema in Turkey was opened in 1908 by a number of foreigners of different nationalities who lived in Istanbul at that time.
	www.islamonline.net /iol-english/dowalia/art-2000-april-27/art2.asp (1351 words)

	Conclusion (Site not responding. Last check: 2007-10-15)
		The 1961 Constitution was relatively liberal and gave the Turkish cinema a chance to incline towards social problems.
		The period between years 1980 and 1990 in the Turkish Cinema can be considered as a reflection of social and political context of Turkey.
		Today, cinema makers are still trying to regain the audience that turned their back to Turkish Cinema.
	www.geocities.com /yesilcam80/conc.htm (323 words)

	[Islam-Online- Art & Entertainment]
		Al Fateh quarter was the domicile of the renowned Turkish poet Mohammad Akef and the late eminent Sheikh Ali Ya'qoob.
		The choice of the location of these cinemas was deliberate, given the influence of the district in which they lay on the Muslim and conservative sectors, not to mention that the cinemas in question are in the middle of several quarters of the European part of the city.
		In fact, the new trend in Turkish cinema is worthy of study and examination, particularly if one is aware of the films shown by private Turkish television channels that broadcast their programs via satellite.
	www.islamonline.net /IOL-english/dowalia/art-2000-may-18/art1.asp (1419 words)

	From 1923 to 1980 (Site not responding. Last check: 2007-10-15)
		Because of these reasons through Turkish cinema history nearly 17 years of this period caused irreversable effects.
		First one, was the war and the other one was the heritage of theorised cinema.
		The decline of European cinema, because of the war, was a great chance for American movie sector.
	www.geocities.com /yesilcam80/1923.htm (764 words)

	[No title]
		The army-affiliated Central Cinema Directorate, a semi-military national defence society, and the Disabled Veterans Society were the producing organizations of that period.
		The years between 1939 and 1950 were a period of transition for the Turkish cinema, during which it was greatly influenced by the theater as well as by World War II.
		In the 1960s, cinema courses were included in the programs of the theater departments in the Language, History and Geography faculties of Ankara and Istanbul Universities and in the Press and Publications High School of Ankara University.
	www.turkishnation.4mg.com /cinema.htm (730 words)

	TURKISH CINEMA
		Beginning in 1908, cinema halls began to be opened by foreigners and individuals from the minorities living mainly in İstanbul.
		Once again an exhibition of Turkish films was staged in Paris, and at a festival organized by the Union of European Film and TV workers in Paris, Behlül Dal's "Güneşin Battığı Yer" (Where the Sun Sets) won a special award in the short films category.
		The trend of "cinema d'auteur" was strengthened and revitalized with new directors.
	www.byegm.gov.tr /REFERENCES/TURKISH-CINEMA-2001.htm (5947 words)

	[Islam-Online- Art & Entertainment]
		For many years, Turkish films lacked the necessary order and legal measures which were needed to enter international markets, which was also due to the inability to meet international standards in the way of technology.
		During the 1914-1939 period, only two cinema studios were active, and the number of films produced, exclusive of short-subject films and documentaries, barely reached 23.
		Turkish films made their impression on international markets and began to win prizes and awards with realistic and better quality films, so the industry began to win back its old audiences.
	www.islamonline.net /iol-english/dowalia/art-2000-may-04/art2.asp (1657 words)

	Popular Cinema, Turkish-style \| Culture & Lifestyle \| Deutsche Welle \|
		Turkish films are securing a place in German cinemas now that producers have discovered a new target audience of German-Turks.
		Turkish films shown in Germany have long conveyed a rather bleak view of the Bosporus state.
		Turkish movie-goers proved to be loyal customers with a high level of attachment to the product.
	www.dw-world.de /dw/article/0,,1177348,00.html (775 words)

	Turkish Cinema Newsletter (Site not responding. Last check: 2007-10-15)
		While this new generation of German Turkish filmmakers is still very connected to Turkish culture and continues to deal, however peripherally, with some of the same issues, such as questions of identity, racism, culture and language, they nonetheless have new concerns that reflect their own circumstances and relationship to Germany.
		The milieu is Turkish, and the actors and the language spoken are, for the most part, Turkish.
		However, despite the Turkish content, these films are generally not too concerned with issues related directly to the Turkish community.
	www.zoefuller.co.uk /turkishmigrantcinema/openspac/othepro/TCN.html (363 words)

	The Zoom in Popular Cinema: A Question of Performance
		The reality is somewhat less dramatic: the indiscriminate use of the term ‘oral’ occults the fact that the vast majority of the population participated in the culture as auditors — recipients and consumers — of verbal artefacts produced by relatively few.
		On the contrary: the receiver, the listener-audience of such a rhetorical performance may become fully aware of the manipulative dimensions involved, thus subtracting him/herself from ‘the subjugated, believing mass’ and joining a kind of elite, non-duped sector.
		There is a sense in which the zoom, just like certain aspects of the actorial style of performance in Turkish, Indian and other non-European films, acknowledges the presence of the audience in a way that transforms the performance space into a public space rather than simply a privatised, diegetic space.
	www.rouge.com.au /1/zoom.html (2320 words)

	Turkish Cinema/Movies in Turkey/Actors&Actresses
		Under those conditions, the cinema of the Republic was entrusted for 17 years to the care of one man, Muhsin Ertuğrul, the appointed director and experienced actor of the municipial theatre of Istanbul.
		Despite the crisis in the national cinema resulted from the expansion of the television channels to a national scale in 1970s, he produced interesting works whick were recalled the best moments of the Italian Neo-Realismo : Hope (Umut, 1970), The Elegy (Ağıt, 1971), The Comrade (Arkadaş, 1974).
		Especially the film of Ömer Kavur "The Hotel of Motherland" is very important with regard to its filmograghic nature in which the aesthetic creativeness and the sensitiveness to the social life are already combined consistently.
	www.bigglook.com /biggtraveleng/infotips/turkcinema.html (1520 words)

	Turkey - Entertainment - Guney (Site not responding. Last check: 2007-10-15)
		Yılmaz Gney was born in Adana in 1937 as Yılmaz Ptn, who as a youth carried film bobbins on his bicycle from cinema to cinema.
		He summed up his love of cinema before his death in 1984: “We used to go to the cinema to see action films at the age of 13, but only to cinemas in poor parts of Adana; we couldn’t dare to go to cinema’s in affluent areas.”
		Gney only gained international recognition after escaping from a Turkish prison in 1981, where he was serving time on a murder charge for killing a prosecutor after both men got into a drunken altercation.
	www3.estart.com /turkey/entertainment/guney (624 words)

	Republic of Turkey, Ministry of Culture and Tourism - 1931 - 1950 Period (Site not responding. Last check: 2007-10-15)
		The film, who carries openly influences derived from the Soviet cinema, is also noticeable for the presence of Cahide Sonku, a theater actress who had entered the movies in 1933.
		The Turkish cinema is at the begining of a new era and during this era new, indipendent and original cinematographers will take their places, step by step, in accordance with the changing economical and social conditions.
		The first of them is Lütfi Ömer Akad, a landmark in the history of the Turkish cinema, who by directing his first feature, Vurun Kahpeye (Strike the Whore), gives a realistical War of Indipendence film and shows the first signs of a new and different filmic flair.
	goturkey.kultur.gov.tr /turizm_en.asp?belgeno=2677 (1661 words)

	Türkei: Gesetzgebung des audiovisuellen Sektors (Site not responding. Last check: 2007-10-15)
		Turkish cinema has today become an internationally recognised art form enjoying popularity in foreign countries, and at international film festivals.
		According to the Turkish cinema authorities, Turkish cinema is now experiencing its most productive and creative period from the standpoint of both quality and diversity.
		It is meant to support the people working for the Turkish cinema and music art and to contribute to cinema and musical life emphasising the aspect of national solidarity, integrity and continuity.
	www.obs.coe.int /online_publication/reports/tr_baytan.html.de?print (3518 words)

	Museum of Turkish Cinema (Site not responding. Last check: 2007-10-15)
		The foundation’s aim is to support Turkish actors and filmmakers of the past as well as to help encourage the cinemas’ next generation.
		The Turkish cinema started to appeal to the masses in the 1950s, when producers aimed to entertain people with indoor films, choosing their themes with an eye on pleasing the audience.
		Although this tendency continues to a great extent today, the Turkish cinema began producing psychosocial and cultural films after 1980 and it succeeded in recapturing the interest of the masses, especially that of the younger generation and university students.
	www.byegm.gov.tr /YAYINLARIMIZ/newspot/2002/jan_feb/n12.htm (592 words)

	Central Eurasian Studies U320 Cooper (Site not responding. Last check: 2007-10-15)
		Despite all the economic shortfalls and lack of a legal framework within which to operate, thanks to the efforts of Turkish directors, script writers, actors, actresses and technicians, Turkish cinema has carved out a respectable position and succeeded in competing with the powerful foreign movie industry.
		Today Turkish cinema has come be an internationally recognized modern art enjoying a huge popularity in foreign countries, and in international film festivals, which frequently both recognize and award its success.
		We will end with the Turkish Immigrant Cinema in Europe, which were co-produced with European filmmakers, namely films from Germany and Italy, such as “Hamam” by Ferhan Özpetek.
	www.indiana.edu /~ceus/u520-cinema-turkey-cicek.html (171 words)

	Arada/Between: Contemporary Turkish Cinema (Screen/Society Fall 2004) (Site not responding. Last check: 2007-10-15)
		West Campus and are free and open to the general public.
		With the exception of the "Turkish Cinema in Focus" special events on Saturday, September 25th (11:30am-6:30pm), all screenings will start at 8:00pm.
		The film is a portrait of the quotidian aspects of the duo’s relationship, as well as the often-grim reality of daily life in an urban setting and a country struck by crisis.
	www.duke.edu /web/film/screensociety/Arada.html (2378 words)

	Cinema Studies Links: National Cinemas (Site not responding. Last check: 2007-10-15)
		Cinema Iran provides reviews of Iranian films and profiles of Iranian actors and directors.
		Polish Cinema During the Period 1989-1999 and essay by Bozena Janicka, discusses Polish film during the last decade of the twentieth century.
		This website contains not only a history of Turkish Cinema but also a master's thesis by Nazli Eda Noyan on the Turkish melodrama posters and romance between 1965-1977 as well as images of the posters which are not available elsewhere.
	www.uiuc.edu /unit/cinema/links/national.html (934 words)

	Turkish Film Symposium (Site not responding. Last check: 2007-10-15)
		Popular Turkish culture and particularly Turkish cinema always promoted a certain way of 'feeling' which is, although known by different names ('hüzün', 'efkar', 'arabesk' etc.) is nearly always the same; a 'pathos' peculiar to a culture.
		This paper intends to present a general overview of Turkish cinema of the 90s, focusing on the two different tendencies which underlined the period.
		During the 90s, the so-called commercial/popular Turkish films which targeted the general public, received a cultural response in a context mostly manipulated and promoted by Turkish media.
	www.fas.harvard.edu /~mideast/lectureseries/turkishfilm.html (659 words)

	The Cinema Industry in Turkey \| Dexigner
		Turkish cinema, which was set upon book adaptations in its first times, tended to follow the rules that were forced to it under the heavy burden of censor and constraints, pushing creativity to the second place.
		With its 300 films shot in a year, Yeşilçam Cinema was in a condition to compete with Hollywood wit its production of 500 films each year.
		Although most of these films had the ever-known themes kept kind of repeating the same stories, as they were able to reflect our very own culture they reached out to large crowds.
	www.dexigner.com /art/news-g1717.html (236 words)

	Foreign Films - Turkish
		Director Ferzan Ozpetek (Steam) explores the history of his Turkish culture in the second film in his erotica trilogy.
		Turkish filmmaker Nuri Bilge Ceylan has earned critical comparisons to Andrei Tarkovsky and Yasujiro Ozu on the strength of this bleakly beautiful existential meditation on loneliness and ennui.
		After the sudden death of her husband, a woman is surprised and shocked to discover that he had a male lover throughout the entirety of their happy marriage.
	www.multilingualbooks.com /foreignvids-turk.html (822 words)

	Metissage - Third Generation of the Turkish-German Cinema (2003) (Site not responding. Last check: 2007-10-15)
		They show the conflicts that Turkish immigrants experience as a result of the constant pull between maintaining their cultural identity and dealing with pressure to assimilate into German society.
		He finds a role model in Lola, the star of the transvestite revue, and her leather-jacket wearing lover who uses the outlaw name of Billy the Kid.
		In the 5th precinct, policemen from immigrant families perform their duty, three from Yugoslavian families and two from Turkish families.
	www.sfs.org.sg /2003/03turkishgerman.html (1648 words)

	Centre Pompidou \| Publications \| cinema (english) (Site not responding. Last check: 2007-10-15)
		Also intact is the desire of Gisèle Breteau-Skira and her team to include diversity of cultures and means of expression in the programme whilst still putting the emphasis on the quality and inventiveness of films selected.
		The first retrospective of Swiss cinema for the period from 1965 to 1995.
		A history of avant-garde film from 1919 to the present day, this work reflects the extraordinary wealth of a collection of 700 films by modern and contemporary artists, some 500 of which were acquired between 1990 and 1996.
	www2.centrepompidou.fr /english/publications/cine.htm (339 words)

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