Photography and Video

This study argues, how was Ottoman’s photographic representation locally and universally produced, manipulated and consumed. In a general context, the thesis of this study discusses the role of intertextual process within the construction of Ottoman image, and the resistance practice of Ottoman against the Western Orientalist practice via the contemporary channels of communication and also claims that
Ottoman’s photographic representation is not only a fact that was constructed by West but also a fact that was constructed by the Ottoman itself within the local dynamics. In the context of these claims, the role of two photographic practices, massive and long-termed “Abdulhamid II Albums” and culturally oriented “Elbise-i Osmaniye Album”, were analyzed.

New wave in Turkish cinema is a controversial Notion. If we look back to the Turkish film history, it’s not possible to find contemporary films equivalent to French New Wave, except rare examples like Metin Erksan and Omer Kavur . But a new filmmaker generation titled New Turkish Cinema, which formed in the mid 90’s and labeled by critics as a new, introspective and psychological strain , may be a good example for Turkish “New-wave” cinema. Zeki Demirkubuz and Nuri Bilge Ceylan’s films, as examples of New Turkish Cinema, with their author style (as a writer, director and sometimes as actors), and their tendency to low-budge film production can easily be regarded as counterparts of new new-wave film style in Contemporary European Cinema.



In this text, I want to focus the films of these two contemporary directors in the context of famine-masculine relationship in the director’s character setting. Main goal of this text is represent to the masculine domination above women characters of the films and also represent the men’s’ gaze to feminine situations which formed by the directors as psychological strains.
Zeki Demirkubuz films, Innocence (Masumiyet, 1997), a film about a prostitute and her inevitable lover, The Third Page (Üçüncü Sayfa, 1999) a film about the story of a murder which planned by a woman and her lover, Confession (İtiraf, 2002) a film about a mid-class married couple and their fealty to their marriage, Waiting Room (Bekleme Odası, 2004), a film about a intellectual and her desperate relations with women, Destiny (Kader, 2006), is a film prequel to Masumiyet with nearly same character setting ; and Nuri Bilgi Ceylan’s films Three Monkeys (Üç  Maymun,2008)) a film about fealty and crime, and Climates (İklimler, 2006) a film about intellectual mid-class couple and their relationship,  will be analyzed to represent the masculine gaze which formed by author and which can be read as misogyny.

Costume albums fact has been one of the popular representation types of the non-western traditions and habits in Western visual culture from 16th century to 19th century. These albums are mostly known as encyclopaedic studies, which have been, flourished western intellectual experience about the East, especially by using the possibilities of visual arts. Representations of Eastern subjects of Ottoman periphery
(including pre-colonial identities Palestinians, Syrians, Egyptians etc.) have been the common subjects of these Albums. Ottoman’s cultural variety and the exotic oriental image of Ottoman subjects have influenced and built up Western intellectual interest which consist of traditional oriental gaze and experience. 

19th century westernization process of Ottoman Empire has predicted a new Ottoman National Identity and the representation of Ottoman Identity by Costume Albums has been internalized likewise many western rooted intellectual experiences. Museum of Antique Costumes and Album of “Ottoman Antique Costumes” by Brindesi which were supported both by the palace, has been the examples of this
internalization process.  Westernization Process has also affected newly formed intellectuals who have directly influenced Western traditions and habits. Many intellectuals of Ottoman Empire like Osman Hamdi Bey has been educated in Europe and they have been the dynamics of westernization process. 

Connection between Costume Albums and Ottoman Intellectuals can easily be seen Costumes of Ottoman’s Album in which Osman Hamdi and his counterparts has represented their tendencies to new Ottoman Identity that had been idealized in multicultural diversity. The Album, which was edited in 1873, also shows, how an ottoman intellectual idealized his new idea of Ottoman identity by the possibilities of
photographic experience. Also, Individual works of Ottoman photographers like Abdullah Brothers, Vasil Kargapolou, Pascal Sebah and the cross-dressing experience of western photographers will analyzed as practices of Ottoman idealization of identity.

"One of the family pictures in Nobel prize winner Orhan Pamuk’s semi-autobiographical novel “Istanbul” represents his childhood image in formal clothes, may be a school uniform, with a small proportion of a misty background within a close frame and the frame filled by the subject.  This image seems to provoke post-memory of his childhood past in the different parts of Istanbul’s mid-class neighborhoods. Book also consists many more images from different periods and styles, which are connected to his memory, and also historical images, which creates the memory of the city. Istanbul’s Illustrations from French painter Antoine Ignace Melling from early 19th century and photographs by notable Turkish Photographer Ara Güler from 1950s and 60s can be read as the Pamuk’s unconscious experiences of the place. Also, all the images from these two are likely become the part of his historical evidence of the past which Pamuk had constructed his historical accounts on the city. On the other side, the Family albums of Pamuk’s family and the amateur photographs of the neighborhoods in Istanbul represent his individual history. Well-documented history of his family through the photographs creates his post-memory about his parents, siblings, close and far relatives. Hybridity of the images, which are accompanying the texts, create melancholic view to the past, which related to the loss of family members and loss of the historical past of the city, itself.  In this context, melancholy strictly related to the amnesia and further, remembrance through the optical experience.

In this essay, the connection between literature and photographic image will be discussed in the terms of post-memory, optical unconsciousness, trauma and memory. Former works on German writer WG Sebald, who was the contemporary of Orhan Pamuk and has also used the photographic image in same sense and style, will be the reference Pamuk’s tendency on Photographic image. Also, This text aims to find out the traces of the relation between trauma and melancholy in Pamuk’s work via comprehension with Sebald’s apparent connection with trauma. "

Bu çalışmada manzara resminin ve sonrasında manzara fotoğrafında sanatçının çağdaş deneyim evrenlerini temsil etme sürecinde etkili olan dinamikleri sorgulamaktadır. Coğrafi bir kavram olan manzaranın temsile konu olan fiziksel varlığının geçirdiği dönüşümün modern ve modern sonrasındaki temsil deneyimleri ile örneklenmektedir. Manzaranın özellikle insan varlığı ile dolayısıyla kültürel olan ile buluştuğu örnekler analiz edilerek sanatçıların öznel ve toplumsal kimliklerinin inşa edildiği alan olarak değerlendirilmektedir. Bu bağlamda çalışma, öncelikle doğal manzara ve kültürel manzara arasından ayrım yapmaktadır. Avrupa manzara resmi geleneğinden dönüşerek, modern ve modern sonrası sanatsal deneyimlerde kültürel manzara kavramının nasıl temsile konu olduğu çalışmanın temel çerçevesini oluşturmaktadır. Kültürün fiziksel manzara üzerindeki dönüştürücü etkisinin, temsil ile araçsallaşması özellikle 19 ve erken 20. Yüzyıl modern fotoğraf çalışmalarında, ardından 20. Yüzyıl ikinci yarısında biçimlenen çağdaş fotoğraf uygulamalarında izleri sürülmektedir. Abstract In this papper, landscape is questioned with the aesthetic dynamics that are effective in the process of representing the contemporary experience universe of artist in the landscape painting and later in the landscape photograph. The transformation of the geographical concept of landscape, which is the subject of representation, is exemplified by the experiences of modern and post-modern representations. By analyzing the examples where the landscape encounters particularly with human beings and therefore with the cultural ones, it is evaluated as the area where the subjective and social identities of the artists are built. In this context, the study distinguishes between the natural landscape and the cultural landscape. Basic framework of the study constitutes the how the concept of cultural landscape is transformed from the European landscape painting to formal representations in modern and post-modern artistic experiences. The transformative effect of the culture in physical landscape has been traced in instrumentalization of art works, especially in the contemporary photographic applications of the 19th and 20th century modern and then the second half of the 20th century post-modern photographic experiences.

Bu çalışmada manzara resminin ve sonrasında manzara fotoğrafında sanatçının çağdaş deneyim evrenlerini temsil etme sürecinde etkili olan dinamikleri sorgulamaktadır. Coğrafi bir kavram olan manzaranın temsile konu olan fiziksel varlığının geçirdiği dönüşümün modern ve modern sonrasındaki temsil deneyimleri ile örneklenmektedir. Manzaranın özellikle insan varlığı ile dolayısıyla kültürel olan ile buluştuğu örnekler analiz edilerek sanatçıların öznel ve toplumsal kimliklerinin inşa edildiği alan olarak değerlendirilmektedir.
Bu bağlamda çalışma, öncelikle doğal manzara ve kültürel manzara arasından ayrım yapmaktadır. Avrupa manzara resmi geleneğinden dönüşerek, modern ve modern sonrası sanatsal deneyimlerde kültürel manzara kavramının nasıl temsile konu olduğu çalışmanın temel çerçevesini oluşturmaktadır. Kültürün fiziksel manzara üzerindeki dönüştürücü etkisinin, temsil ile araçsallaşması özellikle 19 ve erken 20. Yüzyıl modern fotoğraf çalışmalarında, ardından 20. Yüzyıl ikinci yarısında biçimlenen çağdaş fotoğraf uygulamalarında izleri sürülmektedir.

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This book proposes to define different aspects of the creative industry in Turkey , which have created surplus value with the contribution of innovative initiatives and technological developments in recent years. It concentrates on video games, cinema, animation, and creative activities that have gained economic and cultural importance in recent years. Also, it focuses on the unique cases of the core creative industries, such as new media. In more detail, it provides a critical and alternative approach to the production, distribution, and use of creative industry content beyond the overview of these industries.

This chapter focuses on drastically transforming and changing distribution ownerships of Turkish film industry since millennia. Main arguments consist, a basic projection and a comparison of the changes of the film market in the 90s when the major actors of the distribution shaped contemporary industrial dynamics, arising cinema-going habits in shopping mall film theatres, appearance, and development of the international conglomerations in the industry, rise of the local entrepreneurship, role of alternative actors excluding mainstream film distributions, market shares of actors in the industry and effects on the shaping content.

Özet Oryantalizm konulu bir çalışmaya, araştırma nesnesi olarak 19. yüzyıl fotoğrafı ve fotoğrafçılarının seçilmesi, onun Batı-dışı modernlikleri temsil etme ve özellikle Doğu ile ilgili sosyal ve kültürel bilgi evreni yaratmadaki becerisi ile ilgilidir. Oryantalizmin 19. yüzyılda gündelik hayat söyleminden öteye taşınıp, edebiyat ve bilimsel söylem pratiklerine dönüşüp kurumsallaşmasıyla birlikte, Doğu'nun her türlü deneyiminin Batı tarafından içselleştirilmesi ve öteki olarak inşa edilen (ya da işaret edilen) bir Doğu imgesinin kurulması söz konusu olmuştur. Fotoğraf ise ötekinin temsilinde maddi sınırların çizilmesinde etkili bir araç olarak karşımıza çıkmaktadır. Doğu'nun kültürel ve sosyal pratiklerinin betimlenmesinde fotoğrafın aracılığı, Batı'nın Doğu'ya ilişkin görsel belleğinin oluşmasında ve Doğu ile ilgili kalıp yargıların kalıcılaşmasında etkin bir rol oynamaktadır. Kökenleri 15. yüzyıla dayanan seyahatnameler, gezi rehberleri, 19. yüzyılda ise önce edebiyat ardından resimde gelişen oryantalizm kavramları Doğu bilgisine engin bir literatür hazırlamıştır. 19. yüzyılda fotoğraf fuarlar, sergi salonları ve kartpostallar ile kamusal alan içerisinde yer almış, yüzyılın sonlarına doğru oryantalist olarak adlandırılabilecek fotoğraflar gündelik hayat içerisinde değişim değeri kazanarak ticarileşmiştir. Bu çalışma 19.yy'da Doğu temsiline egemen olan görsel temsillerinin oluşmasında etkisi ile egemen dile yönelik eleştirel bir değerlendirme sunmaktadır. Abstract The selection of the 19th-century photography and photographers as a research object for a study on orientalism is concerned with its ability to represent non-western modernity, and in particular to create a universe of social and cultural knowledge of the East. In the 19th century, when Orientalism was moved beyond the discourse of everyday life and transformed into practices of literature and scientific discourse, it became possible to internalize any experience of the east to establish an image that was built (or pointed out) as the other. Photography appears as an effective tool in drawing material boundaries in the representation of the other. In the description of the cultural and social practices of the east, the mediation of photography plays an active role in the formation of the west's visual memory of the east and in the perpetuation of stereotypes about the East. Firstly, travelogues of 15th century, and then in the 18th century, orientalist literature and painting prepared a vast literature on eastern knowledge. In the 19th century photography took place in public spaces with fairs, exhibition halls and postcards. Towards the end of the century, the photographs, which could be called as orientalists, became commercialized by gaining the value of change in daily life. This study presents a critical evaluation of the dominant language with its effect on the formation of visual representations that dominated the eastern representation in the 19th century.

At the time of writing this text, the number of cases worldwide was over 150 mil- lion, and the number of people who lost their lives since late 2019 was over 3 mil- lion. As stated in the title of the book, we were far from the period we can call Post. Therefore, the recommendation of this study can be seen as questioning a possible future. With an optimistic disposition, the experiences of the present can give insight into the projected Post. Although the process is incomplete and the damage is not fully calculated, each island of experience that occurs during the pandemic process provides a view for possible options for the future. Here, two major questions about the -post provide motivation to the academicians and intellectuals although they echo banal: “Will we go back to the beautiful days of past?” and “are we going to build a brand-new world order?” These questions, which are nostalgic at one end and futuristic at the other, both can be answered with experiences in the present.

The Night Journey (2007–2018) is one of the first experimental art game ever made according to the promotional content description made by its designers. The game directed by video artist Bill Viola who is known with his video installations that question fundamentals of human existence in relation to the nature. The Night Journey frames the similar conception with an unconventional journey to the basis of humane circumstances overwhelmed by a challenging environment. Although there is no narrative path to follow and no goals to achieve, decisions made by the players can create procedural changes in their existence and the world surrounding them. Thus, the game falls apart from the conventional understanding of user experiences and it moves to a conceptual experience that is symbolic and more metaphorical. The game raises an inquiry on being a video game with its mechanics and at the same time being an artwork with its aesthetic, conceptual and artistic qualities. This triggers an outmoded debate on involvement of technologies to art practices. Respectively photography, cinema, video and more recently digital technologies became the subject of the same debate in academic and practical circles. The commercial aspects of the aforementioned technologies have created confusion regarding their regard as art-forms. The position of their aesthetic experiences against being reproducible have remained open to discussion when compared to traditional art practices. When the video game literature today is examined, it is observed that the similar dilemma is a subject of discussion. This article aims to define the relationship between video game and art within the framework of current practices and discussions, and to identify the possibilities and potential boundaries of the video game medium as a contemporary art practice in terms of artist, artwork and audience. In this context, three exhibitions led by Museum of Modern Art Museum of New York, Victoria and Albert Museum and Barbican Center is examined to understand past, present and future of videogame as artwork.

After more than a decade since the publication of the book "Istanbul: Memories and the City", this article focuses on the case of family photo albums, used to animate a distant and blurred past that reveals signs of the anticipated decadence of the city. Other than the evidential, factual, and comparative qualities of the documentary photograph, this article questions how the silent frames of a family communicate with their "limited" universe. Here, the aim is to focus on photographs or snaps of Pamuk's family spread over two decades. Although the book consists of many images and photographs within different contextual and formal appearances, family photographs seem to exist as a process of self-reflectivity or more to define critical access to the city where the author expressed his existence. In this paper, the aim is to focus on the photographs that widen, or on the contrary, immobilize the narrativeness of the text by creating another textual reference for the reader; photographs that appear as the visual references to emphasize what the text refers to in a documentary sense. Here, the book "Istanbul: Memories and the City" by Orhan Pamuk is compared to a literary tradition that employs the photographic image in fictional and nonfictional narratives to understand how the images reflect, change, or remove what the reader finds in the text.

The puppet touches us, reaches toward us through the shadow in which we are watching it move. This move, as Erin Manning explains, emanates a relation which, in turn, is the main component of a body politic. The body of the puppet, a sentient one for the "eye" of the spectator, is in effect a political body: it is living by transference and transition (from puppeteer to puppet and vice versa) and it is making the spectator believe that it is alive. In other words, the moving body of the puppet fills up the dark space-time of an in-between, between him and the spectator, and interpellates the senses of the latter. This paper elaborates on different aspects of movement in the puppet shows of Companyia Jordi Bertran from Barcelona. Its main objective is to demonstrate multisensoriality involved in the the puppet show. Bodily effects and sensory stimulations (and simulations), mainly kinaesthesia, pain and olfaction, communicated by specific characters such as Toti Tipon or Faquir Raixic will be addressed through short video extracts. Theoretical sources will include works by Erin Manning, Michel Serres and Gilles Deleuze, among others.