This book studies the relationship between Vedat Türkali's cinematic works and Third Cinema theory. At first, the Third Cinema is researched and evaluated, and criteria for determining the Third Cinema ideology are defined. Traces of the Third Cinema in Turkey's cinema are then explored, analyzed, and evaluated within the socio-political history of the geography, through a study of Türkali's life, ideology, and cinema. Six scripts and a novel of Türkali are analyzed using the basic elements of fiction and Algirdas Julien Greimas' "Actantial Model", and evaluated within the framework of the criteria for the Third Cinema.
TABLE OF CONTENT
ABBREVIATIONS
ACKNOWLEDGMENTS
INTRODUCTION
THIRD CINEMA
The New Latin American Cinema and Realism
Brazil, Cinema Novo, and The Aesthetics of Hunger
Cuba, Revolution, and For an Imperfect Cinema
Argentina and Third Cinema
The Practice of the Third Cinema
The Theory of the Third Cinema
Discussions and Ideas on Third Cinema
Third Cinema Definitions
Third Cinema and (Its) Geography
Sources and Pioneers of the Third Cinema
National Identity
History and Memory
Feminism
Perspectives on Intellectuals
The Third World and the West
Third Cinema's Present and Future
Conclusion
Third Cinema in Turkey
Turkey's Political History
Third Cinema in Turkey's Cinema
The 1960s, The Turkish Cinematheque Association, and Genç Sinemacılar
The 1970s and Yılmaz Güney
Conclusion
VEDAT TÜRKALİ, HIS CINEMATIC WORKS, AND THIRD CINEMA
His Life
His Ideology
His Cinema
Analyzing and Evaluation of His Cinematic Works
Methodology
Otobüs Yolcuları (The Bus Passengers, 1961)
Şehirdeki Yabancı (The Stranger in the City, 1963)
Kızgın Delikanlı (The Angry Young Man, 1964)
Karanlıkta Uyananlar (Those Awaking in the Dark, 1964)
Kara Çarşaflı Gelin (The Black-Sheeted Bride, 1975)
Güneşli Bataklık (The Sunny Swamp, 1977)
The Scripts: Conclusion
Yeşilçam Dedikleri Türkiye (Turkey They Say Yeşilçam, 1986)
Conclusion
CONCLUSION
REFERENCES
INDEX
This book studies the relationship between Vedat Türkali's cinematic works and Third Cinema theory. At first, the Third Cinema is researched and evaluated, and criteria for determining the Third Cinema ideology are defined. Traces of the Third Cinema in Turkey's cinema are then explored, analyzed, and evaluated within the socio-political history of the geography, through a study of Türkali's life, ideology, and cinema. Six scripts and a novel of Türkali are analyzed using the basic elements of fiction and Algirdas Julien Greimas' "Actantial Model", and evaluated within the framework of the criteria for the Third Cinema.
TABLE OF CONTENT
ABBREVIATIONS
ACKNOWLEDGMENTS
INTRODUCTION
THIRD CINEMA
The New Latin American Cinema and Realism
Brazil, Cinema Novo, and The Aesthetics of Hunger
Cuba, Revolution, and For an Imperfect Cinema
Argentina and Third Cinema
The Practice of the Third Cinema
The Theory of the Third Cinema
Discussions and Ideas on Third Cinema
Third Cinema Definitions
Third Cinema and (Its) Geography
Sources and Pioneers of the Third Cinema
National Identity
History and Memory
Feminism
Perspectives on Intellectuals
The Third World and the West
Third Cinema's Present and Future
Conclusion
Third Cinema in Turkey
Turkey's Political History
Third Cinema in Turkey's Cinema
The 1960s, The Turkish Cinematheque Association, and Genç Sinemacılar
The 1970s and Yılmaz Güney
Conclusion
VEDAT TÜRKALİ, HIS CINEMATIC WORKS, AND THIRD CINEMA
His Life
His Ideology
His Cinema
Analyzing and Evaluation of His Cinematic Works
Methodology
Otobüs Yolcuları (The Bus Passengers, 1961)
Şehirdeki Yabancı (The Stranger in the City, 1963)
Kızgın Delikanlı (The Angry Young Man, 1964)
Karanlıkta Uyananlar (Those Awaking in the Dark, 1964)
Kara Çarşaflı Gelin (The Black-Sheeted Bride, 1975)
Güneşli Bataklık (The Sunny Swamp, 1977)
The Scripts: Conclusion
Yeşilçam Dedikleri Türkiye (Turkey They Say Yeşilçam, 1986)
Conclusion
CONCLUSION
REFERENCES
INDEX
