Publications with Fulltext
Permanent URI for this collectionhttps://hdl.handle.net/20.500.14288/6
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Publication Open Access The urban renovation of Marseille in Luc Besson's Taxi series(Sage, 2016) Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and HumanitiesSimilar to other post-industrial European cities, Marseille has been going through a process of intense urban renewal over the last 20 years. The symptoms of these changes were indicated in the action film series Taxi as early as the 1990s, when the renewal was beginning to take shape. Four films shot between 1998 and 2007, written and produced by Luc Besson, reflect the urgency felt by the government and commerce in Marseille to promote the city as the Mediterranean capital of global finance and tourism. This article first examines the process of urban renovation in Marseille. After a brief discussion on the city's representation in cinema, the article considers the film industry's interest in post-industrial urban spaces. Finally, it explores how the Taxi series prefigures the city that the urban renewal aspires to: a Marseille rendered more attractive for investments and tourists thanks to increased security measures and sanitised ethnic diversity.Publication Open Access Design thinking in transitional period(Frontiers, 2022) Department of Media and Visual Arts; Özcan, Oğuzhan; Faculty Member; Department of Media and Visual Arts; KU Arçelik Research Center for Creative Industries (KUAR) / KU Arçelik Yaratıcı Endüstriler Uygulama ve Araştırma Merkezi (KUAR); College of Social Sciences and Humanities; 12532In this speculative look of design thinking through the lens of the Renaissance, the author draws our attention to the shocking similarity between the transition in today's world and the Industrial Era. In this comparison, he emphasizes the similar role of “arts in Renaissance” concept and Design Thinking. In this perspective, the author's concern is not about discussing how the Design Thinking process will be in the new era, but just speculating its role as a tool in such a transitional period.Publication Open Access Media in new Turkey: the origins of an authoritarian neoliberal state(University of Southern California, Annenberg School for Communication _ Journalism, 2018) Department of Media and Visual Arts; Sim, Melike Aslı; Department of Media and Visual Arts; Graduate School of Social Sciences and HumanitiesPublication Open Access Big data analytics and the limits of privacy self-management(Sage, 2017) Popescu, M.; Department of Media and Visual Arts; Baruh, Lemi; Department of Media and Visual Arts; College of Social Sciences and HumanitiesThis article looks at how the logic of big data analytics, which promotes an aura of unchallenged objectivity to the algorithmic analysis of quantitative data, preempts individuals' ability to self-define and closes off any opportunity for those inferences to be challenged or resisted. We argue that the predominant privacy protection regimes based on the privacy self-management framework of "notice and choice" not only fail to protect individual privacy, but also underplay privacy as a collective good. To illustrate this claim, we discuss how two possible individual strategies-withdrawal from the market (avoidance) and complete reliance on market-provided privacy protections (assimilation)-may result in less privacy options available to the society at large. We conclude by discussing how acknowledging the collective dimension of privacy could provide more meaningful alternatives for privacy protection.Publication Open Access Introduction: academic labour, digital media and capitalism(TripleC, 2018) Allmer, Thomas; Department of Media and Visual Arts; Bulut, Ergin; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 219279Publication Open Access One-dimensional creativity: a Marcusean critique of work and play in the video game industry(TripleC, 2018) Department of Media and Visual Arts; Bulut, Ergin; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 219279Creativity is at the heart of the video game industry. Industry professionals, especially those producing blockbuster games for the triple-A market, speak fondly of their creative labour practices, flexible work schedules, and playful workplaces. However, a cursory glance at major triple-A franchises reveals the persistence of sequel game production and a homogeneity in genres and narratives. Herbert Marcuse's critique of one-dimensionality may help to account for this discrepancy between the workers' creative aspirations and the dominant homogeneity in game aesthetics. What I call 'one-dimensional creativity' defines the essence of triple-A game production. In the name of extolling the pleasure principle at work, one-dimensional creativity eliminates the reality principle, but only superficially. One-dimensional creativity gives game developers the opportunity to express themselves, but it is still framed by a particular technological rationality that prioritises profits over experimental art. One-dimensional creativity negates potential forms of creativity that might emerge outside the industry's hit-driven logics. Conceptually, 'one-dimensional creativity' renders visible the instrumentalisation of play and the conservative design principles of triple-A game production - a production that is heavily structured with technological performance, better graphics, interactivity, and speed. Multi-dimensional video game production and aesthetics, the opposite of one-dimensional creativity, is emerging from the DIY game production scene, which is more invested in game narratives and aesthetics outside the dominant logics of one-dimensionality in triple-A game production.Publication Open Access Sustainability and communication practices in grassroots movements in Turkey following Gezi Park protests: cases of Dogancilar Park Forum, Macka Park Forum and Validebag volunteers(Intellect, 2020) Department of Media and Visual Arts; N/A; Baruh, Lemi; Bal, Haluk Mert; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; Graduate School of Social Sciences and Humanities; 36113; N/ARecent social movements, as exemplified by the informal organizations formed during and after the Occupy Movement in the United States and Gezi Park Protests in Turkey, are characterized by distrust towards institutional political bodies and hierarchical organizations (Boler et al. 2014). Also, the debate on the relationship between social movements and digital media technologies often highlights the opportunities that these technologies provide for ‘largely unfettered deliberation and coordination of action’ (Castells 2012). Scholars critical towards the concept argue that horizontal grassroots organizations may suffer from problems of continuity and formation of a durable movement (Calhoun 2013). This article aims to investigate the organizational characteristics and media practices of grassroots organizations that were established or mobilized following Gezi Park Protests, a nation-level social protest in Turkey. Drawing on participant observation of three grassroots social movement organizations in Istanbul – Dogancilar Park Forum and Imrahor Garden; Macka Park Forum and Komsu Kapisi Association and Validebag Volunteers – this analysis will aim to contextualize opportunities and obstacles associated with the horizontal structures of such movements. The article will particularly focus on the strategies that these organizations utilize to maintain the sustainability of the respective movements and approaches they employ in media and communication practices at a local level.Publication Open Access Corporeal violence in art-house cinema: Cannes 2009(Taylor _ Francis, 2016) Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and HumanitiesTaking 2009 Cannes Film Festival as a case study this article explores the narrative limits and possibilities of a global movement in art-house cinema: the portrayal of extreme corporeal violence - a movement that ranges from new French extreme to Asian extreme cinema. Cannes 2009 housed a collection of films that display extreme bodily violence, showing acts ranging from brutal rape and dismembering of the body to graphic scenes of torture, genital mutilation and murders. The analysis of a selection of festival films provides an opportunity to track a transnational movement in which graphic scenes of violence become not only a convenient tool to further audience affect, but also a means to reinforce the reality effect. This study, on the one hand, explores how films that display extreme bodily violence as an eruptive force seek memorability in the competitive art-house film market. On the other hand, it suggests that on the eve of the 2009 global financial crisis, showing corporeal affect alludes to the disposability of bodies under a neoliberal economy obsessed with efficiency and adaptability. Hence, the ethical impulse that seeks the production of sympathetic bodies in the audience often goes hand in hand with the marketing of sensationalism.Publication Open Access Digital populism: trolls and political polarization of Twitter in Turkey(University of Southern California, Annenberg School for Communication _ Journalism, 2017) Department of Media and Visual Arts; Department of Sociology; Bulut, Ergin; Yörük, Erdem; Faculty Member; Faculty Member; Department of Media and Visual Arts; Department of Sociology; College of Social Sciences and Humanities; 219279; 28982This article analyzes political trolling in Turkey through the lens of mediated populism. Twitter trolling in Turkey has diverged from its original uses (i.e., poking fun, flaming, etc.) toward government-led polarization and right-wing populism. Failing to develop an effective strategy to mobilize online masses, Turkey’s ruling Justice and Development Party (JDP/AKP) relied on the polarizing performances of a large progovernment troll army. Trolls deploy three features of JDP’s populism: serving the people, fetish of the will of the people, and demonization. Whereas trolls traditionally target and mock institutions, Turkey’s political trolls act on behalf of the establishment. They produce a digital culture of lynching and censorship. Trolls’ language also impacts pro-JDP journalists who act like trolls and attack journalists, academics, and artists critical of the government.