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Now showing 1 - 6 of 6
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    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.
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    Media, affect, and authoritarian futures in "new Turkey:" spectacular confessions on television in the post-coup era
    (Oxford University Press Inc, 2020) Department of Media and Visual Arts; Department of Sociology; Bulut, Ergin; Can, Başak Bulut; Faculty Member; Faculty Member; Department of Media and Visual Arts; Department of Sociology; College of Social Sciences and Humanities; College of Social Sciences and Humanities; 219279; 219278
    A spectacular shock doctrine is reformatting Turkey since the failed coup in July 2016. We examine how the television economy transformed the organization behind the coup (FETO) from a public secret into a spectacle. We investigate the televised confessions of former Gulenists, who revealed the scandalous FETO's inner workings live on television. We argue that former Gulenists' media performances based on confession, apology, and spectacular secrecy captured public affect to justify their complicity with the putschists rather than bringing political justice. The government capitalized on these confessions as part of its strategic information warfare to tame the opposition after the coup, while reconstructing Gulenists as a weird cult rather than a political network. As the citizens were bombarded with affective televisual confessions, politicians secured authoritarian futures without a glimpse of justice, because these shows spectacularly erased the networks behind the coup.
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    Radio in Africa: publics, cultures, communities
    (Taylor & Francis, 2013) N/A; Scifo, Salvatore; Researcher; N/A; N/A
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    The fantasy of do what you love and ludic authoritarianism in the videogame industry
    (Sage, 2023) Department of Media and Visual Arts; Bulut, Ergin; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 219279
    Like other creative workers, videogame developers believe doing what you love (DWYL) brings success and happiness. Drawing on three years of ethnography in a U.S. based studio, I theorize DWYL as a social fantasy, which glues developers to work despite cruelties. Because developers' attachment to work is not an individual matter of the heart but a powerful relation that is mutually cultivated, desired, and even joyfully dictated, I conceptualize these cruelties through "ludic authoritarianism", redefined as a diffuse form of workplace regime. In this regime, both the management and developers invest in the DWYL fantasy that normalizes overwork, creates success mythologies, institutes vague performance metrics, and cultivates discriminatory production cultures. Moving beyond "love at work brings exploitation" narratives, I show how authoritarianism is not a deviant political form in non-Western contexts but a diffuse and playful culture across elite workplaces in the Global North.
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    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.
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    TV series production and the urban restructuring of Istanbul
    (Sage Publications inc, 2018) N/A; Department of Media and Visual Arts; N/A; Rappas, İpek Azime Çelik; Faculty Member; PhD Student; Department of Media and Visual Arts; College of Social Sciences and Humanities; Graduate School of Social Sciences and Humanities; 183702; N/A
    This article explores the entangled relationship between Turkish TV series and the city of Istanbul examining both the series' representation of the city and the effects of flourishing series' production on the city. We argue that TV series production and representation changes and is changed by the urban restructuring of globalizing Istanbul since the late 1980s. analyzing internationally popular series such as Noor, Valley of the Wolves, and 1001 Nights and building on television, urban and cultural studies, this article explores the ways that Istanbul's neoliberal renovation process appears in and is shaped by TV series. the three segments of the article probe how series reflect and push forth the gentrification of historical neighborhoods, their increasing use of abandoned post-industrial areas as shooting locations, and their promotion of spaces associated with creative industries and luxury lifestyles. We show that both images and image making are connected to city making.