|
Issue |
Title |
|
Vol 6, No 1 (2017): Spring 2017 |
For Those Who Seek Mastery and Personality, by Halit Refiğ |
Abstract
PDF
|
Murat Akser |
|
Vol 8, No 2 (2020): Fall 2020 |
A Reading of Bhabendra Nath Saikia's Films from Feminist Lens |
Abstract
PDF
|
Minakshi Dutta |
|
Vol 9, No 1 (2021): Spring 2021 |
The world of Assamese celluloid: ‘yesterday and today’ |
Abstract
PDF
|
Violet Barman Deka |
|
Vol 7, No 1 (2018): Spring 2018 |
Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media |
Abstract
PDF
|
Zafer Parlak, Mehmet Işık |
|
Vol 7, No 1 (2018): Spring 2018 |
Halit Refig's I Lost My Heart to a Turk: Woman, Islam and Modernity in Turkish Cinema |
Abstract
PDF
|
Murat Akser |
|
Vol 10, No 1 (2022): Fall 2022 |
Güneş Ne Zaman Doğacak?: A different approach from the perspective of Turkish cinematic art |
Abstract
PDF
|
Mehmet Yılmazata, Erdem Güven |
|
Vol 6, No 2 (2017): Fall 2017 |
Women in the Cinema of Nuri Bilge Ceylan |
Abstract
PDF
|
Funda Masdar Kara, Şakir Eşitti |
|
Vol 9, No 2 (2021): Fall 2021 |
Mapping Yeşilçam: A relational approach to the Turkish film industry |
Abstract
PDF
|
Serkan Savk, Burak Dogu |
|
Vol 9, No 1 (2021): Spring 2021 |
The Liminal and the Surreal: The Space of Limbo and Dreams in Luis Bunuel’s The Discreet Charm of the Bourgeoisie |
Abstract
PDF
|
Miniature Malekpour |
|
Vol 7, No 1 (2018): Spring 2018 |
Interpersonal Relations as a Tool to Film Directing |
Abstract
PDF
|
Caio Augusto Camargo Bogoni, Renate B. Michel |
|
Vol 10, No 1 (2022): Fall 2022 |
The Ambivalent Object(s) of America in Wim Wenders |
Abstract
PDF
|
Laurent Shervington |
|
Vol 7, No 1 (2018): Spring 2018 |
From Box Office to Memory: Telling Stories is not an Innocent Act |
Abstract
PDF
|
Ayla Kanbur |
|
Vol 8, No 1 (2020): Winter 2020 |
Cinema And Society In The Light Of Emile Zola’s Naturalism |
Abstract
PDF
|
Hossein Shahin Karbalaeetaher |
|
Vol 7, No 1 (2018): Spring 2018 |
Violence in the Postcolonial Ghetto: Ngozi Onwurah's Welcome II the Terrordome (1994) |
Abstract
PDF
|
Emilie Herbert |
|
Vol 6, No 2 (2017): Fall 2017 |
Editorial |
Abstract
PDF
|
Bengisu Bayrak |
|
Vol 8, No 2 (2020): Fall 2020 |
Wild Pear Trees, Patrimonial Legacies: Father-Son Relationship in Nuri Bilge Ceylan's The Wild Pear Tree |
Abstract
PDF
|
Coşkun Liktor |
|
Vol 8, No 1 (2020): Winter 2020 |
Review of The Dynamic Frame: Camera Movement in Classical Hollywood |
Abstract
PDF
|
Dorian Bowen |
|
Vol 7, No 1 (2018): Spring 2018 |
Let’s Make it American: American Remakes of the British Films |
Abstract
PDF
|
Elif Kahraman Dönmez |
|
Vol 10, No 1 (2022): Fall 2022 |
Exploring Modes of Surveillance in Films |
Abstract
PDF
|
Matteo Ciccognani |
|
Vol 8, No 1 (2020): Winter 2020 |
Cinema, Human Rights And Development: The Cinema As A Pedagogical Practice |
Abstract
PDF
|
Leilane Serratine Grubba |
|
Vol 6, No 2 (2017): Fall 2017 |
Ceylan's Winter Sleep: From Ambiguity to Nothingness |
Abstract
PDF
|
Aslı Daldal |
|
Vol 8, No 2 (2020): Fall 2020 |
“Youtuber Movies” From New Media to the Cinema |
Abstract
PDF
|
Barış Tolga Ekinci |
|
Vol 8, No 2 (2020): Fall 2020 |
Transformation of Comedy with Streaming Services: The Case of Bartu Ben |
Abstract
PDF
|
Nisa Yıldırım |
|
Vol 3, No 1 (2013): Fall 2013 |
Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love |
Abstract
PDF
|
Murat Akser |
|
Vol 10, No 1 (2022): Fall 2022 |
The Black magic: An aesthetic analysis of its illustration in the sociohorteur film: Dachra |
Abstract
PDF
|
Faten Ridene |
|
1 - 25 of 60 Items |
1 2 3 > >> |