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    The Place of Cultural Place Time Perception in Narration Construction and Sample Examinations
    (Istanbul Univ, 2009) Ozcinar, Meral
    The purpose of this study is to analyze the differences brought about by the sense of time-space, a founding element in social life, in narratives, in general, and in cinematic narrative in particular. A rational sense of time-space, which is unique to modern societies, has generated the dramatic structure based on the idea of progress and causation. In those countries that have not undergone a modernization process, as is the case for Turkey, the dramatic structure is not well-established owing to a preceding lack of a rational sense of time-space. Therefore, a comparison will be made between Yesilcam cinema as well as subsequent films and modern cinema. In addition, an analysis of timespace will be conducted through case films. Cenneti Beklerken and Yumurta have been selected for the case films of the present study. This study suggests a different perspective on Turkish cinema than studies from the perspective of Dramatic Structure. The study, whose most important reference point is the different trials of narrative in modern cinema, recommends developing a distinctive form of cinema narrative through an analysis of the cultural and social structure which defines the Visual and audio codes of Turkish cinema.
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    Öğe
    Visual representation in the context of social and cultural body perception
    (Common Ground Research Networks, 2010) Ozcinar, Meral
    Body is a concept being assigned new meanings not by given ready definitions but instead shaped through societal mentality created in time and by geography. Body is formed in terms of a series of cultural values assigned to it. Body-oriented conceptualizing is formed out of tension between visual presentation of the body and symbolic grammar generated by culture. Body is an object of social policies not only physically but also as a social design and construct. In her study "Body Folklore", Katherina Young emphasizes that body is a cultural product and highlights that it is shaped over cultural forms. The reason of the perceived differences in the body concept between east and west is based on perceived personal difference. Contrary to western visual culture, Turkish and Ottoman visual arts are especially devoid of realistic figure representation. Instead of the western individual, in the east congregation is the point at issue. Consequently the reflection of the body in arts is also different. Turkish cinema is producing body images in line with the references of culture that it belongs to. The aim of this study was to generate ideas about body concept produced in time by two cultures in different interaction areas, how they form narrative texts and clues on how they reflect this to cinematographic narrations. Considering the fact that this study is carried out in the frame of cultural conflicts, it will emphasize the body perception whose backbone is formed by cultural mentality structure - in terms of resemblances and differences between eastern and western cultures - and different visual representation forms it generates. Intrinsically, this methodology does not accept narrow, introverted, selflimited disciplinary models but instead admits a multidisciplinary approach in a liberal approach. © Common Ground.