The purpose of this research is to determine the relationship between the political skills of the teachers and the organizational opposition level. The research is in the relational screening model. The sample of the research consists of 400 teachers working in secondary schools in İzmir province. A simple random sampling method was used in the research. Data were collected with the Political Skill Scale and the Oppositional Behavior Scale. In the analysis of research data; Pearson Moments Multiplication coefficient and regression analysis were used. According to the results of the research teachers' political skill levels are high. The level of sincerity dimension of political skill of teachers is higher than the ability of communication the dimensions of interpersonal influence and social competence. Teachers' oppositional behavior is moderate Teachers show moderate political behavior. Teachers indicate that open opposition is used at a higher level than the other dimensions. Again, according to the results of the research, it is seen that there is a positive low-level relationship between the political skills of the teachers and the forms of organizational opposition and open opposition behavior.

No abstract

Film festivals are highly important events and organizations that unite films, artists, cinema workers and the viewing audience. Attending a screening at a festival is different than going to the local cinema throughout our daily lives. Film festivals not only unite moviegoers, it also opens new doors for everyone interested in the art of film. Similarly, it facilitates the opportunity for the audience to meet directors, actors, screenwriters and everyone else participating in the production of films as well as the screening of films that previously had not been screened. It provides a platform of discussion for the viewers of common content. It allows prominent films in cinema history to be experienced within the atmosphere of a movie theatre. The contributions of film festivals to individuals, society, and the hosting city are not limited to these influences. This study attempts to determine the audience profile of the Eskisehir International Film Festival, which has been a recurring event for 18 years. In this regard, a survey was conducted between 6-14 May 2016 using random sampling. The 250 valid questionnaires obtained were analysed with the SPSS statistical software and the results were combined with the researchers' festival organisation experiences for interpretation. Additionally, a portrayal of the film festivals in Turkey in the year 2016 was established along with a meta-analysis of the publications regarding the influence of film festivals on the film industry and on society.

Milli kimlik bir kez oluşturulup bırakılmamakta sürekli olarak yeniden inşa edilmektedir. Gündelik yaşam içerisinde hayatın tüm alanını kapsayan kitle iletişim araçları bu üretimde önem taşımaktadırlar. Sinema da milli kimliğin üretiminde etkindir. Tarihin yeniden inşa edildiği popüler kültür ürünlerinden olan tarihi filmler milli kimliğin yeniden üretiminde önem taşımaktadır. Bu çalışmanın amacı, Türk sinemasında popüler tarihi filmlerde milli kimliğin ne şekilde yeniden inşa edildiğini ortaya koymaktır. Araştırmada yöntem olarak nitel içerik analizi kullanılmış ve durum saptama çalışması yapılmıştır. Çalışma evrenini, Türk sinemasında yapılmış olan popüler tarihi filmler oluşturmaktadır. Örneklemi ise amaçlı örneklem yöntemiyle belirlenen 120 (Eren ve Saraçoğlu, 2008), Fetih 1453 (Aksoy, 2012), Çanakkale 1915 (Sezgin, 2012), Taş Mektep (Dönmez, 2013) ve Çanakkale Yolun Sonu (Uzun, 2013) olmak üzere beş film oluşturmaktadır. Örneklem olarak belirlenen filmlerin “biz/onlar tanımlamaları ve özellikleri”, “biz/onları belirginleştiren simge ve semboller”, “kahramanlık ve zaferlerle biz/onların kuruluşu”, “değerlerle biz/onların kuruluşu” ve “milli kimliğin inşasında kullanılan simge ve semboller” olmak üzere beş kategoride analizi yapılmıştır. Elde edilen sonuçlara göre örnekleme dahil filmlerde milli kimliğin “biz” kendisini bir “öteki” karşısında konumlayarak oluşturduğu, “öteki” olarak konumlandırılanlar için ağır ve aşağılayıcı ifadeler kullanılırken “biz” için övgü dolu sözlerin kullanıldığı tespit edilmiştir. Önemli bir başka bulgu ise bu filmlerde Türklerin, Müslümanlıklarının öne çıkarılarak sunulduklarıdır.

Child actors and actresses perform in television programs, such as contests, shows and series, and in movies broadcasted in Turkey. After the program is broadcasted, social media accounts such as Facebook and instagram are opened by their parents for these children and it is attempted to increase their popularity. Children with increased popularity begin to act in new series and advertisements, and they are drawn into a consumption cycle. While these children, who are used for humour, promotional or dramatic factors, are disturbed, on the other hand, they cause that children's real and big problems (poverty, child labor, abuse, abduction, refugee, etc.) are ignored. This study provides a perspective on child characters in competition programs, TV shows, television series, television programs and movies broadcasted on televisions in 2018 in Turkey. The program in which children aged between 5 and 12 years appear, and their Instagram accounts were tracked and examined. The culture of benefiting from the child in the media multiplies itself as the use of children as mediatic characters in the media in Turkey continues, and the fact that children can be used as a source of income without considering that they can be overwhelmed by the burden of fame becomes widespread. This indicates the perception of childhood in society, the visibility of child individuals' problems, and a frightening future for children.