Publications with Fulltext

Permanent URI for this collectionhttps://hdl.handle.net/20.500.14288/6

Browse

Filters

20162

Advanced Search

Filter by

Settings

Quartile: search.filters.quartile.Q3Subject: search.filters.subject.Communication

Search Results

Now showing 1 - 2 of 2
  • Thumbnail Image
    PublicationOpen 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 Humanities
    Similar 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.
  • Thumbnail Image
    PublicationOpen 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 Humanities
    Taking 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.