Green Pine Resurrected: Film Genre, Parody and Intertextuality in Turkish Cinema

    Research output: Book/ReportBook

    Abstract

    This study shows the shift in meaning generation across time in Turkish cinema by comparing genre films of the 1960s (Yesilcam, or Green Pine cinema) and parody films of the new televisual production regime in Turkish cinema of the 2000s. At the intertextual level popular Turkish film parodies of the twenty-first century expose and ridicule a discourse of modernity by creating a critical intertextuality with classical Turkish film genres of the 1960s and popular Hollywood cinema in the new millennium. The use of critical intertextuality can be essential as a discursive tool to reconstruct a national cinema's genres and to understand its changing viewer modality through a historical perspective. Through looking at how film parody reinterprets genre films, this study also identifies a new mode of film and media production in Turkey.
    LanguageEnglish
    Place of PublicationSaarbrücken
    Number of pages248
    Publication statusPublished - 13 Jul 2010

    Fingerprint

    Turkish Cinema
    Pinus pinaster
    Parody
    Intertextuality
    1960s
    Cinema
    Millennium
    Film Studies
    National Cinema
    Historical Perspective
    Modality
    Ridicule
    Modernity
    Turkey
    Discursive
    Intertextual
    Viewer
    Hollywood
    Discourse

    Keywords

    • cinema
    • film
    • Turkey
    • Turkish cinema
    • film studies
    • third world
    • post-colonialism

    Cite this

    @book{52d860aea7444435ba139e0b06a0b144,
    title = "Green Pine Resurrected: Film Genre, Parody and Intertextuality in Turkish Cinema",
    abstract = "This study shows the shift in meaning generation across time in Turkish cinema by comparing genre films of the 1960s (Yesilcam, or Green Pine cinema) and parody films of the new televisual production regime in Turkish cinema of the 2000s. At the intertextual level popular Turkish film parodies of the twenty-first century expose and ridicule a discourse of modernity by creating a critical intertextuality with classical Turkish film genres of the 1960s and popular Hollywood cinema in the new millennium. The use of critical intertextuality can be essential as a discursive tool to reconstruct a national cinema's genres and to understand its changing viewer modality through a historical perspective. Through looking at how film parody reinterprets genre films, this study also identifies a new mode of film and media production in Turkey.",
    keywords = "cinema, film, Turkey, Turkish cinema, film studies, third world, post-colonialism",
    author = "Murat Akser",
    note = "Reference text: Akser, M. (2001) The Return of the Repressed : Critique of Turkish Modernity in Halit Refig's Films. Unpublished Ma Thesis. York University Akser, M. (2009). Yılmaz G{\"u}ney's Beautiful Losers: Idiom and Performance in Turkish Political Film. In Bayrakdar, D. (Ed.). (2009). Cinema and Politics: Turkish Cinema and New Europe. Cambridge Scholars.pp 142-153. Arslan, S. (2011). Cinema in Turkey: A new critical history. Oxford: Oxford University Press. Basut{\cc}u, M. (1996). Le cin{\'e}ma turc.Paris: Centre Georges Pompidou. D{\"o}nmez-Colin, G. (2008). Turkish cinema: identity, distance and belonging. Reaktion Books. Erdogan, N., & Kaya, D. (2002). Institutional intervention in the distribution and exhibition of Hollywood films in Turkey. Historical journal of film, radio and television, 22(1), 47-59. Erdogan, N. (1998) “Narratives of Resistance: National Identity and Ambivalence in the Turkish Melodrama between 1965 and 1975” Screen, 39(3): 259-271. Erdogan, N. (2002). Mute bodies, disembodied voices: notes on sound in Turkish popular cinema. Screen, 43(3), 233-249. Harris, S. (2008). Turkish Popular Cinema: National Claims, Transnational Flows. International Journal of the Humanities, 6(3). Kaplan, Y. (1997). Turkish Cinema. In John Hill ed. The Oxford History of World Cinema. Oxford University Press. Refig, H. (2001). Should Turkey Look East?. New Perspectives Quarterly, 18(4), 85-92. Smith, I. R. (2008). The Exorcist in Istanbul: Transnational Processes of Intercultural Dialogue within Turkish Popular Cinema. PORTAL Journal of Multidisciplinary International Studies, 5(1). Smith, I. R. (2008). {"} Beam Me up, {\"O}mer{"}: Transnational Media Flow and the Cultural Politics of the Turkish Star Trek Remake. The Velvet Light Trap, 61(1), 3-13. Robins, K., & Aksoy, A. (2000). DEEP NATlON: The national question and Turkish cinema culture. Cinema and Nation, 203-221. Suner, A. (2010). New Turkish cinema: belonging, identity and memory. IB Tauris. Teksoy, R. (2008). Turkish cinema. Oğlak Yayıncılık. Yalvac, A. (2001). A cultural critique of Turkish cinema in relation to{"} Arabesk{"} (Doctoral dissertation, The University of Hong Kong (Pokfulam, Hong Kong)).",
    year = "2010",
    month = "7",
    day = "13",
    language = "English",
    isbn = "9783838382906",

    }

    Green Pine Resurrected: Film Genre, Parody and Intertextuality in Turkish Cinema. / Akser, Murat.

    Saarbrücken, 2010. 248 p.

    Research output: Book/ReportBook

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    N1 - Reference text: Akser, M. (2001) The Return of the Repressed : Critique of Turkish Modernity in Halit Refig's Films. Unpublished Ma Thesis. York University Akser, M. (2009). Yılmaz Güney's Beautiful Losers: Idiom and Performance in Turkish Political Film. In Bayrakdar, D. (Ed.). (2009). Cinema and Politics: Turkish Cinema and New Europe. Cambridge Scholars.pp 142-153. Arslan, S. (2011). Cinema in Turkey: A new critical history. Oxford: Oxford University Press. Basutçu, M. (1996). Le cinéma turc.Paris: Centre Georges Pompidou. Dönmez-Colin, G. (2008). Turkish cinema: identity, distance and belonging. Reaktion Books. Erdogan, N., & Kaya, D. (2002). Institutional intervention in the distribution and exhibition of Hollywood films in Turkey. Historical journal of film, radio and television, 22(1), 47-59. Erdogan, N. (1998) “Narratives of Resistance: National Identity and Ambivalence in the Turkish Melodrama between 1965 and 1975” Screen, 39(3): 259-271. Erdogan, N. (2002). Mute bodies, disembodied voices: notes on sound in Turkish popular cinema. Screen, 43(3), 233-249. Harris, S. (2008). Turkish Popular Cinema: National Claims, Transnational Flows. International Journal of the Humanities, 6(3). Kaplan, Y. (1997). Turkish Cinema. In John Hill ed. The Oxford History of World Cinema. Oxford University Press. Refig, H. (2001). Should Turkey Look East?. New Perspectives Quarterly, 18(4), 85-92. Smith, I. R. (2008). The Exorcist in Istanbul: Transnational Processes of Intercultural Dialogue within Turkish Popular Cinema. PORTAL Journal of Multidisciplinary International Studies, 5(1). Smith, I. R. (2008). " Beam Me up, Ömer": Transnational Media Flow and the Cultural Politics of the Turkish Star Trek Remake. The Velvet Light Trap, 61(1), 3-13. Robins, K., & Aksoy, A. (2000). DEEP NATlON: The national question and Turkish cinema culture. Cinema and Nation, 203-221. Suner, A. (2010). New Turkish cinema: belonging, identity and memory. IB Tauris. Teksoy, R. (2008). Turkish cinema. Oğlak Yayıncılık. Yalvac, A. (2001). A cultural critique of Turkish cinema in relation to" Arabesk" (Doctoral dissertation, The University of Hong Kong (Pokfulam, Hong Kong)).

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