Researcher:
Rappas, İpek Azime Çelik

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İpek Azime Çelik

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Rappas

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Rappas, İpek Azime Çelik

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2014 - 2019112020 - 20226

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Researcher Of Publications: search.filters.isAuthorOfPublication.20822943-c3d4-41bb-a5fa-dd85a9b6d714

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Now showing 1 - 10 of 18
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    Down in treme; race, place and New Orleans on television
    (Sage Publications Ltd) N/A; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
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    A hand that holds a machete race and the representation of the displaced in Jacques Audiard’s dheepan
    (Routledge, 2019) Köksal, Ö.; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
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    Introduction: ruins in contemporary Greek literature, art, cinema, and public space
    (Johns Hopkins Univ Press, 2020) Boletsi, Maria; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
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    From Titanic to Game of Thrones: promoting belfast as a global media capital
    (Sage, 2019) Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
    Using information gathered through analysis of screen industry-related promotion material and fieldwork conducted in Belfast in June 2017, this article traces the ways in which screen economy connected to James Cameron's Titanic (1997) and HBO's Game of Thrones and the celebratory discourse around these works brand Belfast as a dynamic global media capital. This study inquires into the ways in which association with screen industries contributes to the spatial value of a region, especially a post-industrial city that actively seeks to alter its past global image and association with a violent civil conflict. It also aims to contribute to the debate about the discourse on labor in creative cities by showing that while manufacturing labor is waning, its discourse of social welfare, hard labor, and craftsmanship transfers itself to creative industries that then justify themselves through the claim to inherit traditional industries' economic strength, job opportunities, and work ethics.
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    The "guest" who refuses to work, the "terrorist" who contemplates global hunger: minorities in Fatih Akin films
    (Cambridge University Press (CUP), 2020) Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
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    Global love/national hatred: The phenomenon of K-pop in Turkey
    (Boeck Universite, 2020) N/A; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
    This article explores the love and fandom of a widespread global popular culture phenomenon in a national context, that is, Korean pop music (K-pop) and its broad appeal among Turkish youth. Recently, K-pop fandom - which extends to the love of Korean TV series, language, and culture - has been discussed in conservative Turkish media as an "alarming" trend growing in popularity among adolescents. This article examines how Turkish K-pop fans express their emotional involvement and love for the music on social media - mainly on Twitter and on YouTube. The questions that this article poses are the following: How are emotional connections formed through popular culture in the Global South-Global South axis? Do these global bonds surpass national feelings? What is the language used to communicate love for the global phenomenon? What tensions does love for a global product generate in a context of increasing xenophobic and militarist tendencies?
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    Netflix in Turkey: Localization and audience expectations from video on demand
    (Sage Publications Inc, 2022) N/A; Department of Media and Visual Arts; Department of Media and Visual Arts; Ildır, Aslı; Rappas, İpek Azime Çelik; Teaching Faculty; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; College of Social Sciences and Humanities; 333977; 183702
    Drawing on in-depth interviews with users of Netflix and the local streaming service BluTV as well as analysis of press releases, and original TV series produced by these platforms, this study explores the emergence and impact of Video on Demand (VOD) in Turkey. It examines how VOD is adopted, negotiated, reformulated, and received in a non-Western context where global and local VOD platforms compete, substitute and emulate each other. We ask the following research question: What are Turkish audiences' social, psychological and technological needs and expectations from global and local VOD platforms? In order to respond to this question, we explore Turkish audiences' insight into what VOD means to them and offers them as content, in comparison with platforms' marketing discourse. The article argues that a) the local content that platforms offer is a central juncture through which audiences articulate their larger expectations from VODs, and b) Netflix's localization attempts do not always correspond with the audience demand, it is heavily critiqued and at times rejected by the local audience. The findings of this research indicate that the expectations, needs, and gratifications of Netflix and VOD audiences depend on three factors: Their interpretation of VODs' local content in relation to their cultural experience with broadcast TV, their technological needs such as instant access to global content and time/space shifting opportunities, and lastly the political context and policies such as the internet regulation and censorship. The significance of this is study is in showing, as distinct from the abundant literature on localization of Netflix, the complexity of local taste. Audiences' evaluation of a VOD is shaped simultaneously by multiple factors including their experiences with network TV, other VODs, media regulations as well as informal networks/piracy.
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    Fabricating "cool" heritage for Northern Ireland: Game of Thrones tourism
    (Wiley, 2020) Baschiera, Stefano; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
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    Do the right thing: encounters with undocumented migrants in contemporary European Cinema'
    (Routledge Journals, Taylor & Francis Ltd, 2020) Phillis, Philip E.; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
    This article analyzes the encounters between European citizens and undocumented migrants in three European migration films - Eternity and a Day (Theo Angelopoulos, 1998, France/ Italy/ Greece/ Germany), Welcome (Philippe Lioret, 2009, France) and Terraferma (Emanuele Crialese, 2011, Italy/ France) - in order to explore a paternalistic tendency in European cinema's representation of migration from the 1990s and onward. As these films shot by European filmmakers raise awareness about the predicament of child-migrants, the challenges of life in refugee camps, and quotidian forms of discrimination, they also utilize the Other-in-need as an avatar in order to construct a compassionate European identity, one firmly devoted to humanitarian ideals. In these Southern European films, migrant characters and their agency are taken down to he goal of survival facing extremely dangerous situations to make it to a utopian space in Northern Europe. While spectators observe the magnitude of the migrants' plight, victimization disenfranchises their communities and reinforces their status as precarious subjects fated to permanently orbit the borders of Europe.
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    Tracing a history of terrorism in Rachid Bouchareb's films: London River (2009), Hors la loi (2010) and La Route d'İstanbul (2016)
    (Routledge Journals, Taylor and Francis Ltd, 2019) N/A; Department of Media and Visual Arts; Rappas, İpek Azime Çelik; Faculty Member; Department of Media and Visual Arts; College of Social Sciences and Humanities; 183702
    This article examines Rachid Bouchareb's London River, Hors la loi and La Route d'Istanbul. the trilogy explores terrorism's many forms that range from anti-colonial and ethno-national to state and jihadist terror in the twentieth century. Hors la loi, A narrative of anti-colonial algerian terrorism, exposes the juxtaposing meanings of being outside the law - as victims of the unjust colonial law and as a strategy to use victimhood as a weapon. London River and La Route d'Istanbul, on the other hand, by focusing on the grief of politically neutral parents, leave the origins and causes of jihadist terrorism unexplored.