Vol. 14 No. 2 (2026): Fall

Articles

Biyi Bandele’s Half of a Yellow Sun and the Postcolonial Discourse on Nigeria’s Civil War Experience

Shouket Ahmad Tilwani, Azeez Akinwumi Sesan

1-26
- PDF
At the Crossroads of Feudal Tradition and Capitalist Economy: Social Transformation in Ömer Lütfi Akad’s The Bride (1973)

Betül Sarı Aksakal

27-83
- PDF
Persona, Shadow, and Mise-en-Scène in Dileesh Pothan’s Joji (2021): A Jungian Analysis of Psychic Metamorphosis

Sandhya Villyalath, Shirin Shahana B V, Nandhini I

84-122
- PDF
Jean Purdy, IVF (in vitro fertilization) and Narrative: An Autoethnographic Look at Ben Taylor’s Joy

Serap Duman İnce

123-158
- PDF
Values of Villainy: A Typology of Antagonists in Superhero Films Through Schwartz’s Theory of Basic Human Values

Bruno Aragão

159-207
- PDF
The Social and Spatial Foundations of Urbanization in Türkiye: A Historical-Sociological Analysis in the Context of Turkish Cinema

İlknur Beyaz Özbey

208-253
- PDF
Chromatic Illusion: Kubrickian Technique of Narrative Depth

Arya B Jayakumar, Sajitha M A

254-288
- PDF
The Impact of Digital Culture on the Cinematic Experience: Vertical Cinema and New-Generation Audiences

Cansu Öksüz Karademir, Alper Önen

289-334
- PDF
A Tragic Requiem: Ethical and Psychic Dissonance in Qala (2022)

Mutqeen Khan, Aqib Javaid Parry

335-374
- PDF
The Void Within: Adolescent Subjectivity and Suicide in Tony Kaye’s Detachment

Sajed Hosseini

375-398
- PDF
Bodies of Resistance: A Sociological and Cinematographic Reading of Childhood and Working-Life Vulnerability in Ken Loach’s Cinema - Kes and I, Daniel Blake

F. Neşe Kaplan, Ali Barış Kaplan

399-435
- PDF
Distribution Conundrum: Rebalancing the Talent–Capital Dynamics for Cinematic Innovation in the Benin Film Industry

Peddie E. Okao, Samuel O. Chukwu-Okoronkwo

436-459
- PDF
"Comedy Is Tragedy + Time": Humor and Trauma in Life Is Beautiful (1998)

Frank Tomasulo

460-498
- PDF
Negotiating Authorship with Generative AI in Cinema Education: Attribution and Creative Decision-Making in Screenwriting

Ufuk Küçükcan

499-537
- PDF
Audiovisual Construction of Migration Trauma: A Socio-Aesthetic Analysis of the Tunisian Series Harga

Faten Ridene

538-583
- PDF
(Class)ifying the Queer in India: Reading the Intersection of Class with Sexuality in the Bengali Film Arekti Premer Golpo (2010)

Sourav Saha, Shyamkiran Kaur

584-608
- PDF
Disability, Agency, and Adaptation: Comparing Forrest Gump (1994) and Laal Singh Chaddha (2022)

Hasan Yüksel

609-633
- PDF

Ritwik Ghatak: The Visionary of Cinema

History, Affect and Memory in Ghatak’s Subarnarekha

Sudha Padmaja Francis

634-657
- PDF
Partition as Historical Novum: Cognitive Estrangement in Ritwik Ghatak’s Partition Trilogy

Serhat Erdem

658-686
- PDF
Autobiography of a “Broken” Intellectual: Self-Performance, Melancholia, and Political History in Ghatak’s Jukti Takko Aar Gappo

Nitesh Tripathi

687-703
- PDF
Counter-Memory and Gendered Trauma in Ritwik Ghatak’s Meghe Dhaka Tara: Melodrama, Sound, and Partition

Ramazan Arslan

704-729
- PDF
The Nation’s Unfinished Business: Caste, Exile, and Postcolonial Betrayal in Ritwik Ghatak’s Subarnarekha

Grishma Trivedi

730-746
- PDF
Ritwik Ghatak’s Cinema as a Space for Intercultural Encounter: The Reception of the Film Meghe Dhaka Tara (1960) by Turkish Female Audiences

Dilar Diken Yücel, Esma Gökmen

747-778
- PDF
The Postcolonial and Matrixial Gaze in Ritwik Ghatak’s Partition Trilogy

Godwin Emmanuel, Richard Rego

779-798
- PDF
Between Marxist Melodrama and Left Melodrama: Gendered Labor and Suspended Political Possibility in Meghe Dhaka Tara (1960)

Eşref Akmeşe, Alper Erçetingöz

799-827
- PDF
Intersecting Women’s Identities, Injustice, and Resistance to Power Structures in Ritwik Ghatak’s Partition Trilogy

Induja Mazumder, Oinam Bedajit Meitei

828-850
- PDF
An Analysis of Ritwik Ghatak’s Bari Theke Paliye From the Perspective of Exile, Childhood, and Architecture

Ersan Yıldız

851-874
- PDF

Book Reviews

Review of Ritwik Ghatak’s Cinema and I

Srijani Dutta

875-880
- PDF
Review of Memory and the Gothic Aesthetic in Film

Ali Najaf Dokht

881-889
- PDF

Articles

Biyi Bandele’s Half of a Yellow Sun and the Postcolonial Discourse on Nigeria’s Civil War Experience

At the Crossroads of Feudal Tradition and Capitalist Economy: Social Transformation in Ömer Lütfi Akad’s The Bride (1973)

Persona, Shadow, and Mise-en-Scène in Dileesh Pothan’s Joji (2021): A Jungian Analysis of Psychic Metamorphosis

Jean Purdy, IVF (in vitro fertilization) and Narrative: An Autoethnographic Look at Ben Taylor’s Joy

Values of Villainy: A Typology of Antagonists in Superhero Films Through Schwartz’s Theory of Basic Human Values

The Social and Spatial Foundations of Urbanization in Türkiye: A Historical-Sociological Analysis in the Context of Turkish Cinema

Chromatic Illusion: Kubrickian Technique of Narrative Depth

The Impact of Digital Culture on the Cinematic Experience: Vertical Cinema and New-Generation Audiences

A Tragic Requiem: Ethical and Psychic Dissonance in Qala (2022)

The Void Within: Adolescent Subjectivity and Suicide in Tony Kaye’s Detachment

Bodies of Resistance: A Sociological and Cinematographic Reading of Childhood and Working-Life Vulnerability in Ken Loach’s Cinema - Kes and I, Daniel Blake

Distribution Conundrum: Rebalancing the Talent–Capital Dynamics for Cinematic Innovation in the Benin Film Industry

"Comedy Is Tragedy + Time": Humor and Trauma in Life Is Beautiful (1998)

Negotiating Authorship with Generative AI in Cinema Education: Attribution and Creative Decision-Making in Screenwriting

Audiovisual Construction of Migration Trauma: A Socio-Aesthetic Analysis of the Tunisian Series Harga

(Class)ifying the Queer in India: Reading the Intersection of Class with Sexuality in the Bengali Film Arekti Premer Golpo (2010)

Disability, Agency, and Adaptation: Comparing Forrest Gump (1994) and Laal Singh Chaddha (2022)

Ritwik Ghatak: The Visionary of Cinema

History, Affect and Memory in Ghatak’s Subarnarekha

Partition as Historical Novum: Cognitive Estrangement in Ritwik Ghatak’s Partition Trilogy

Autobiography of a “Broken” Intellectual: Self-Performance, Melancholia, and Political History in Ghatak’s Jukti Takko Aar Gappo

Counter-Memory and Gendered Trauma in Ritwik Ghatak’s Meghe Dhaka Tara: Melodrama, Sound, and Partition

The Nation’s Unfinished Business: Caste, Exile, and Postcolonial Betrayal in Ritwik Ghatak’s Subarnarekha

Ritwik Ghatak’s Cinema as a Space for Intercultural Encounter: The Reception of the Film Meghe Dhaka Tara (1960) by Turkish Female Audiences

The Postcolonial and Matrixial Gaze in Ritwik Ghatak’s Partition Trilogy

Between Marxist Melodrama and Left Melodrama: Gendered Labor and Suspended Political Possibility in Meghe Dhaka Tara (1960)

Intersecting Women’s Identities, Injustice, and Resistance to Power Structures in Ritwik Ghatak’s Partition Trilogy

An Analysis of Ritwik Ghatak’s Bari Theke Paliye From the Perspective of Exile, Childhood, and Architecture

Book Reviews

Review of Ritwik Ghatak’s Cinema and I

Review of Memory and the Gothic Aesthetic in Film

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