The aim of this article is to offer a new conceptual framework for the study of various spaces in Istanbul during the seventeenth and the eighteenth centuries. I contend that rather than the sharp distinction manifested with the public–private dichotomy, we need to focus on gradations of privacy. I offer qāpū and bāb as two new concepts borrowed from the period's own repertoire for representing the macro and micro ends of the spatial gradation. Theoretically, I draw on George Simmel's definition of doors as the interfaces of spatial formation.

Turkey’s Yeşilçam film industry produced more than 5500 films during its lifetime of 40 years. The industry had a unique narrative approach shaped around its economic model, Turkey’s ambivalent connection with modernization and the country’s domestic culture. Yet, particular characteristic qualities of the industry remained rather limited up until the last decade, in which vast databases were built up as a consequence of the digital turn. In this study, we develop a relational approach and conduct network analysis to the Yeşilçam with the aim to better understand the patterns of its constitution. Our findings suggest that Yeşilçam was not a homogenous industry as often considered by the film scholarship, rather divided into two main clusters in which professional, narrative and financial dynamics were significantly different.

In this paper, we trace the transformation of leisure culture and emergence of tourism as a form of lifestyle consumption in Turkey by analyzing the representation of Club Med Foça, in Turkish media between 1967 and 2005, during the Club's active period in which it served as a catalyst for such cultural transformation. We deploy Critical Discourse Analysis as a methodological framework for this purpose, and examine a variety of historical resources including popular magazines, news pieces, feature films, postcards, official documents and a photo-romance series for analyzing the representational contexts involving Club Med Foça. Our analysis shows that leisure culture and lifestyle consumption in Turkey has emerged between the tension of national identity and westernization, yet, at a later stage of the country's modernization process, the main axis of tension shifted from an ambivalent relation of Turkish national identity with its western other to an ambivalent relation between the social classes in Turkey.

Bu makalenin amacı, Yeşilçam Bir Sinema Hayvanı (Çağan Irmak, 2021, BluTV) ve Erşan Kuneri (Cem Yılmaz, 2022, Netflix) dizilerinde, Türk sinema tarihine ilişkin olgu ve süreçlerin nasıl ele alındığını incelemektir. Bu amaçla, dizilerin anlatılarına, yayınlandıkları süreğen medya platformlarıyla ilişkilerine ve medya tarihinde sinema-TV-platform eksenindeki dönüşüme bakıyorum. Tarihsel olgu ve süreçlerin nasıl inşa ve temsil edildiklerini anlamak için tasvir, teleoloji ve platform kaygısı kavramlarını kullanıyorum. Tasviri, temsil ve anlatıyı kapsayan ama bununla sınırlı kalmayıp anlatı ögelerinin onlara atfedilen önem ve değere göre nasıl haritalandığını anlamamızı sağlayan bir kavram olduğu için özellikle tercih ediyorum. Sonuç olarak her iki dizinin de, Türk sinema tarihine ilişkin olgu ve süreçlere daha önce görmediğimiz yoğunlukta yer verdiğini, ancak bunları kısmen dönüştürdüklerini ortaya koyuyorum. Her iki dizinin yaratıcılarının birer musavvir gibi kendi Yeşilçam hakikatlerini inşa ettiklerini, söz konusu inşa süreçlerine teleolojik bir bakış açısının hakim olduğunu iddia ediyorum.

No abstract