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The author attempts to define the phenomenon of film technique in the “zero point of cinema”, with reference to selected films made within the circle of Bauhaus’s “new vision” at the turn of the 1920s and 1930s ("Amateurfilm Dessau" by Ivana Tomljenović from 1930 and several films by László Moholy-Nagy, particularly "Architects’ Congress. Film Diary " /1933/). The text concerns the phenomenon based on ignoring technical standards of the medium and/or questioning them to the point of explicit denouncement of the idea of development as a negative reference point, and at times even total rejection of the idea. In the discussed films, visuality perceived as a means to manage the authority of power is contrasted with the right to look (based on “countervisuality”), which is expressed particularly in the staging of seeing the act of looking. It is about a state in which perception practices are not appropriated by visual constructs, since the social machine has not yet arranged the functioning of the photography-film machine; this creates an impression of staging and directorial poverty.
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The article attempts to define medial genealogy, which includes cinema and similar media or phenomena. Using methodology of media archeology, the author discusses terminological and logical problems involved in the efforts of indexing cinema to superior medial order. The popular term of "screen practice", coined by Charles Musser and attributed to the achievements of New Cinema History, serves as an individual example. Subsequently, based on key interdisciplinary assumptions, the author proposes his own term: skiagraphia, derived from an ancient Greek painting form. The main part of the article explores the characteristics of individual members of such media genealogy and describes the mechanisms of its development, i.e. what author calls the skiagraphic process.
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Orhan Pamuk is an author who has got Nobel Prize and has numerous works that include discussions on relations between his country, tradition and modernity in Turkish Literature. His works have been examined by many domestic and foreign researchers and so he has owned a significant place in literature by his works. As an important writer of postmodern Turkish Literature, while he is fictionalising characters, Orhan Pamuk has often included cinema experiences in the frame of social life's ordinariness. Both his referring to cinema as an existentialist urge - as is seen in interviews - , and his deeply handling it in texts show that Orhan Pamuk has adopted cinema as an indispensible part of his life and his art. Particularly the work of The Museum of Innocence sophisticatedly reflects the culture of cinema in the time of novel. According to Pamuk, writing the novel that is also named after a museum in Çukurcuma, İstanbul, took fifteen years to complete. As it is seen in many of his works, the author has chosen İstanbul’s districts as the setting of the novel and he has starkly scrutinised the culture of İstanbul. This novel’s plot especially includes the cinema culture. In this study, the culture of cinema as it is reflected in The Museum of Innocence as a literary text by Orhan Pamuk will be analyzed.
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Anatolian territories hosted a lot of civilizations for hundreds of years and saved It’s presence via the interaction between cultures that occured by the bridge It made between East and West. Anatolian Civilizations reflected their savings brought from the past to the all branches of art also created the fundamentals of the branch of art today known as Traditional Turkish Art. The carpet art,one of the leading branch of the History of the Traditional Turkish Art, survived from the Middle East to our day with It’s examples including rich colors, motifs and composition schemas . The carpet art gave It’s best examples during the Seljuk Era. Those motifs, which are transferred to present as a rich heritage, are used in contemporary ceramic forms as well as they’re used in contemporary carpet motifs. Those studies which can be named as an example for the interdisciplinary interaction, can prove the universal structure of the contemporary ceramic art and the variaty of It’s expression language. In this study; the examples of the carpet motifs which are used in contemporary ceramic art will be researched; the examples of the unique compositions created by the Seljuk carpet motifs which are with contemporary ceramic art will take place.
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Looking at the mythologies, fairy tales and narratives of different cultures and civilizations in the process from past to present, it is seen that animal and plant species are symbolized directly or indirectly by attributing religious and mythical meanings. It can be seen that these symbolizations are formed in an intuitive way, sometimes based on observation and sometimes as a form of inexplicable expression. Examples such as horse meaning will, fish meaning kismet, bird meaning news and black cat meaning bad luck are based on this view. The crow and the raven, which differ from each other with their black and large bodies in terms of their appearance, appear as a similar image in the epics, mythologies and arts of different cultures in terms of the symbolic meanings they bear. The crow and raven have always been described as a bird species that is notorious for this mysterious aspect, as they create an enigmatic air and protect this mysterious air, which is often described as ominous in many cultures. In this study, the place and importance of the crow / raven image in Turkish mythology is explained, and the works of the contemporary Turkish painting artists who make use of this symbol are analyzed aesthetically, and how it is reflected in the art of painting. The fact that the artists include mythological expressions in their works is of great importance in order to keep the symbolic images, expressions, value judgments and traditions seen in the myths and legends of Turkish culture not to be forgotten, to be kept alive and to be carried to future generations.
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Comics have recently attracted the increased attention of theorists as a very dynamic and fast-growing genre. A characteristic feature of contemporary comics is their transmediality, i.e., exceeding the boundaries of the printed page and transforming to digital narratives. Transition to a digital medium gives a number of advantages, including the possibility of using different display modes, deeper immersion in the fictional world, greater degree of interactivity. This paper examines comics, which are adaptations of the classic fairy tale Little Red Riding Hood, identifies intertextual references and modifications of the comics versions. Intertextual references can be traced at the level of comics titles, names of the characters and their characteristics, semi-quotes, which paraphrase the original texts, besides, comics have a different temporal and spatial setting, they extend the scope of the storyworld. Particular attention has been paid to the page layout, such comics-specific features as panels, frames, speech balloons, speed lines, emanata, and onomatopoeic words.
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Current research focuses on an observational investigation of dysphemistic words and phrases in contemporary animated films. The language of animated films varies from other genres and styles, and this divergence from conventional language presents an important sociolinguistic problem. The main reason for the study is an assumption that authors and script writers of animated films use dysphemisms in this specific language style, despite the fact that they should be avoided. The study's methodological foundation is a corpus analysis which deals with three different corpora: the primary corpus – selected contemporary animated films (dating from 2017 to 2020) and the secondary – a) the native language corpus (Corpus of Contemporary American English - COCA), and b) Google search engine. The following goals were pursued in this dysphemism investigation: (1) the selection of animated films for the primary corpus, (2) identification of dysphemisms in the primary corpus, (3) sociolinguistic analysis and explanation of some of the most appealing expressions from the primary corpus, and (4) to cross-check some of the dysphemisms identified in the primary corpus against the secondary corpus. The authors believe that certain number of them are exclusive to animated films and cannot be found in the native discourse. The analysis has confirmed that the language of animated films contains dysphemisms, and that their number and nature vary from film to film. The most common dysphemisms can be found in all animated films, but those containing the most profane language are characteristic only for South Park. Further investigation revealed that certain number of dysphemistic expressions identified in the primary corpus can only be found in animated films and not in the natural discourse.
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This study focuses on the identification of gifted individuals in the field of Visual Arts and the differentiated visual arts teaching offered to these individuals. Gifted individuals are different from individuals with normal potential by nature. Even if they have the same intelligence area, gifted individuals may have different learning styles, different learning speeds, different interests and desires from each other. Therefore, they need an education that is differentiated according to their nature. In the study, firstly, the criteria for identifying gifted individuals in the field of visual arts were explained. Standard measurement tools that will detect gifted individuals in visual arts, which have a unique structure, cannot be developed. Therefore, gifted individuals in visual arts are tried to be identified by adhering to the subjective opinions of artists and art educators. When the literature is examined, it is seen that there are more than one variable such as visual perception, creativity levels, pictorial types, interests and motivations, and linear development levels of individuals as indicators of giftedness in visual arts. In this study, these variables that will be used in the identification of gifted individuals in visual arts are explained. In addition, why there should be differentiated teaching practices for gifted individuals in visual arts was discussed and differentiated visual arts designs were explained.
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The aim of this study is; The aim of this course is to reveal the contribution of Station technique, which is a teaching method, to Basic Art Education and Painting. It is thought that the station technique will contribute to the students' original work and creativity in these course. In the universe of the research, there are 15 students who studied in Süleyman Demirel University, Faculty of Fine Arts, Department of Painting, 1st and 4th grade. All of the students were taken as a sample, and the Basic Art Education and Painting lesson was taught with the Station Technique. Painting techniques and stations where the subject of the course is "still life" is determined as collage, oil painting / acrylic and mixed technique. Before starting to work, the students were informed about the station technique, still life and painting techniques they will apply on the subject. The students who took part in the study worked in three station centers, which were developed by dividing into three groups of five, under the guidance of the instructor, in a three-hour lesson for 60 minutes. Since it is a technique that encourages students to collaborate, do research, find fast and creative solutions to problems, create an environment for creativity and produce freely, its benefits have been explained. Basic art education and Painting course were taught with the station method and it was tried to reveal how they contribute to the studies of the students at every stage. Station technique, basic art education and painting lesson, students' creativity, cooperation by group work, completing a job left unfinished with this technique, working individually and in groups, making discussions and applications, thinking quickly and producing original and creative works, students who create a product, creative It has been observed that it contributes positively to the processes.
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The aim of this study is to examine the effect of pre-service teachers' technology-supported micro-teaching practices on their Visual Arts technological pedagogical content knowledge (VA-TPACK) self-efficacy levels. Depending on the way the research collects and analyzes data, a single group pre-test and post-test experimental design was used. The study group of the research consists of 34 teacher candidates. The data were obtained with the "VA-TPACK Self-Efficacy Scale" and "Personal Information Form". In this study, it was determined that there was a significant increase in the VA-TPACK self-efficacy levels of the technology-supported micro-teaching practices of Visual Arts teacher candidates, and a significant difference in the post-test scores of the teacher candidates in terms of TPK, TAB, TPACK and general scale by gender. However, it was determined that pre-test scores of pre-service teachers did not differ significantly in terms of gender. As a result of the obtained outcomes, arrangements in the axis of VA-TPACK are recommended in order to increase the effectiveness of micro-teaching practices in teacher training programs. Moreover, micro-teaching applications require physical environment and technical equipment. At this point, it is recommended to improve the infrastructure in education faculties.
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Graphic designers are expected to present the message in original and creative forms, along with the healthy transmission of the message in the designs. In this context, designers should understand the demands and demands of the customer and analyze the cultural structure of the determined consumer target group. At the same time, contexts such as design style, aesthetics and media channel should be taken into consideration as well as cultural, economic and political contexts within the scope of all design processes. However, the relationships and interactions between all these factors are expected to be well understood and implemented. In this study, the relationships between the concepts of originality in design processes and their interactions on other branches of art, especially in poster designs prepared for inter-artistic events, are discussed. In the design process, the study examines the factors that influence the roles and duties of designers to ensure this interaction efficiently. In this context, the aim of the study is to reveal a relationship between the demographic contexts of the parties, the design processes, the design itself and how it affects the perception processes of the transmitted message. It is planned to provide resources for new research areas in the context of interactions, graphic design education and creative approaches in post-education professional work.
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19th century Ottoman painter Osman Hamdi Bey is often considered as an Orientalist painter. In addition, Osman Hamdi Bey has richly documented careers as an artist, museum scientist, diplomat and archaeologist. Osman Hamdi Bey, one of the first Turkish painters, created figural compositions in which he depicted various scenes of Ottoman life in his paintings. The spaces and figures in these compositions are important in terms of containing information about the daily life of the Ottoman Period. In this study, the clothes seen in Osman Hamdi Bey's paintings that have not reached today will be examined in terms of clothing arts. It is among the aims to reveal information about the clothes and daily life of the period by using the tables and to pass it on to future generations. The place was depicted in the paintings that were studied, women's and men's clothes, the fabrics of the clothes, their models and types are tried to be revealed. In this study, resources related to the subject were scanned, seven paintings of Osman Hamdi Bey's oil paintings with different venues and clothing were selected by the judicial sampling method and were included in the study.
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The author focuses on the relations between the new film medium and empirical physiology research. Both areas share a similar attitude towards animals and their lives, which reveals a violent discourse. Although this discourse was not always obvious, it was immanently linked with the cultural dominance of the human species. The function of animals in cinema and science is strictly pragmatic – they are a material exploited by humans. This is sanctioned by the frame of cinematic spectacle. The main aims of this article are to find animal presence in early cinema and compare these examples with animal experimentation. The author examines early-cinema examples (such as "Exiting the Factory" /1895/ by Louis Lumière, "Boxing Cats" /1894/ by William K. L. Dickson, or "Electrocuting an Elephant" /1903/ by Edwin S. Porter) with contemporary tools: posthumanism and animal studies.
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The article offers an analysis of the impact of modern digital audio-visual techniques on exhibition practices – especially in the field of cinematic exhibitions. In this context, the key factor is the antinomy of distance vs closeness, as well as the freedom of the recipient set in motion. The research focuses on five areas of institutionalization of digital non-film: new media art, gallery film, digital techniques in new museology, narrative and film exhibitions. They reveal five communication practices that extend tools in the sphere of interactivity: immersion, responsiveness, haptics, paratexts and omnipresence. The article concludes with a reflection on the institution of a digital museum.
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In the light of recent archival research, the story of Orson Welles' life and work is no longer as enigmatic and mysterious as it was in previous decades. But with new discoveries and the subsequent release of films restored and completed after the director's death, it remains a hot topic for his biographers. The author traces the influence of the technological process on the final shape of Welles' restored works mainly through the examples of "The Other Side of the Wind" (2018), the director's last film, and "Too Much Johnson" (1938), his medium-length debut found in 2013. The choice of these titles is dictated on the one hand by the fact that in both cases technology played a very important role, and on the other hand, by the fact that both films have not yet been described in depth.
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