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• Necessary Fictions: From Cinéma vérité to Ciné, ma vérité(s)

  Rowena Santos Aquino

  50-61

  2012-04-20

• Historical “Truth,” Constructed Memory: Restaging Germany’s Reunification in Thomas Berger’s Television Melodrama Wir sind das Volk. Liebe kennt keine Grenzen (We are the people. Love without limits) (2008)

  Katrin B Mascha

  36-49

  2012-04-20

• The Avenging Females: A Comparative Analysis of Kill Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance

  Basak Göksel Demiray

  29-35

  2012-04-08

• The Language of Colours. A Semiotic Analysis of Colours and Symbolic Imagery in Francis Ford Coppola’s "Bram Stoker’s Dracula" (1992)

  Veronika Bernard

  6-63

  2011-10-17

• The Wing Beat of the Butterfly. The Causality of Asymmetric Cultural Encounters and Escalation in Babel (2006) and Valley of Wolves – Iraq/ Kurtlar Vadisi – Irak (2006)

  Veronika Bernard

  187-197

  2011-10-14

• The Special Issue Editors

  Veronika Bernard, Serhan Oksay, Vedat Akman, Murat Akser

  203-205

  2011-10-08

• The IMAGES Project (www.images-1.over-blog.org) and the IMAGES Project 2011 Publication IMAGES - Films as Spaces of Cultural Encounter

  Veronika Bernard, Serhan Oksay

  3-5

  2011-10-08

• Editors' Note

  Veronika Bernard, Serhan Oksay, Vedat Akman, Murat Akser

  1-2

  2011-10-08

• Reinvigorating Film Studies: An Immodest Proposal

  Murat Akser

  1-3

  2011-08-28

• UFA Orientalism. The “Orient” in Early German Film: Lubitsch and May

  Frank F. Scherer

  89-98

  2011-10-06

• New Turkish Cinema – Some Remarks On The Homesickness Of The Turkish Soul

  Agnieszka Ayşen Kaim

  99-106

  2011-10-06

• The ‘Return to Home’: The Musical Construction of a Common Trope in New Turkish Cinema

  Paul Hartley

  76-88

  2011-10-06

• Istanbul Crossroads Establishing Mutual Understanding and Inter-Cultural Dialog through Images

  Vedat Akman

  198-202

  2011-10-06

• Changing Landscape of Moral Registers and Urban Pathology in ‘Bombay’ Cinema: Decline of Biological Family and Birth of the Individual through Awara (1951), Deewar (1951), (1975) and Satya (1998)

  Akshaya Kumar

  116-125

  2011-10-06

• Re-Organizing Cultural Values: Vers le Sud by Laurent Cantet

  Judith Michelmann

  148-158

  2011-10-06

• The Relation between Hollywood and the New Threat Perception of the USA after the End of the Cold War from the Perspective of Postmodernism

  Derya Deger

  159-169

  2011-10-06

• Gender and Identity at Boarding Schools: Outcast Teachers in Maedchen in Uniform (1958) vs Loving Annabelle (2006)

  Petruta Tatulescu

  140-147

  2011-08-04

• To Find Is To Choose, To Choose Is To Create: Culture(s) in Cinematic and Architectural Space(s)

  Asu Besgen

  3-28

  2012-04-20

• A Quantitative Approach to Variables Affecting Production of Short Films in Turkey

  Vedat Akman

  24-33

  2011-08-28

• Violence, Oppression, and Double Standards in Three Colombian Films

  Melissa R. Meade

  16-23

  2011-08-04

• Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands

  Qijun Han

  107-115

  2011-08-04

• Sedimentations: Some Thoughts on Schoenberg’s Musical Accompaniment to a Cinematographic Scene

  David Ryan

  64-75

  2011-10-06

• Cinema on Cinema: The Kinship between Cinema Paradiso and Zıkkımın Kökü, Karpuz Kabuğundan Gemiler Yapmak, Sinema Bir Mucizedir

  Basak Demiray

  34-42

  2011-08-04

• Identity, Cultural Representation and Feminism in the Movie Head-On

  Sandra Berchtel

  126-139

  2011-08-04

• Down the Rabbit Hole of Reality: Abbas Kiarostami’s Certified Copy

  Anna Maria McMurray

  4-15

  2011-08-04