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Cinema in Turkey


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Table of Contents

Preface 1. Introduction 2. Pre-Yesilcam: Cinema in Turkey Until The Late 1940s 3. Early Yesilcam: The Advent of Ye?ilcam in the 1950s 4. High Yesilcam I: Industry and Dubbing 5. High Yesilcam II: Genres and Films 6. Late Yesilcam: Melting in the 1980s 7. Postmortem for Yesilcam: Post-Ye?ilcam, or the New Cinema of Turkey List of References

About the Author

Savas Arslan is Associate Professor of Film and Television at Bahcesehir University in Istanbul, Turkey. He is the coeditor of Media, Culture and Identity in Europe and the author of Melodrama (in Turkish).


"Arslan is an assistant professor at ?stanbul's Bahce?ehir University and his talent for analysis of how cinema reflects society makes this more than just a book for film aficionados: it is a book for all who seek to understand the changes in real Turkish society during the 20th century."--Today's Zaman "Savas Arslan's book is certainly one of the most significant contributions to English-language literature on the cinema of Turkey. It is a welcome addition to the growing number of publications on the topic, yet what makes it most unique is its ambition to address the history of this national cinema in its entirety."--Eylem Atakav, Screen "Refreshing, thought-provoking and informative."--Charlotte McPherson, Today's Zaman "I believe that Cinema in Turkey is a groundbreaking work, the first of its kind in English that looks in detail at the conditions of production and exhibition that shaped Yesilcam's product over nearly five decades. It deserves to become a seminal text in Turkish film history."--Laurence Raw, Insight Turkey "Full of fresh ideas, Arslan's book productively reconciles popular and art house cinema within this study of Turkey's national film tradition. It brings insights into matters of genre, alternative cultural geographies, cross-cultural adaptation, and transnational film historiography. And it successfully tackles the relationship between Western narratives and their appropriation within modernising peripheries." --Dina Iordanova, University of St. Andrews "Ranging from international art films to the Turkish mainstream, from trash to high-art films, from feminist and auteur theory to Orientalism, from pornography to melodrama, from the Silent Era to New Media, this book is rich in its reference, deep in its understanding, and clear in its analysis." --Ronald Green, Ohio State University

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