ÇAĞAN IRMAK’IN “BABAM VE OĞLUM” FİLMİNİN DRAMATİK YAPI UNSURLARININ ANLATI VE SENARYO BAĞLAMINDA İNCELENMESİ̇, 1-17
AN ANALYSIS OF THE DRAMATIC STRUCTURE ELEMENTS OF ÇAĞAN IRMAK’S “MY FATHER AND SON” MOVIE IN THE CONTEXT OF NARRATIVE AND SCRIPT
http://dx.doi.org/10.29228/ASOS.81548
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PIONEERING EXPERIMENTAL PROTAGONISTS IN TURKISH CINEMȦ, 28-42
http://dx.doi.org/10.29228/ASOS.73131
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AÇILMAK İSTENEN, ANCAK KAPANAN KAPILAR; LABİRENT GİBİ BİR TÜRLÜ ÇIKIŞI OLMAYAN BOŞ KORİDORLAR, BEKLENEN AMA BİR TÜRLÜ GELMEYEN DİŞİL GÜÇ; DEMOKRASİ, ŞEVKATİ İLE İNSANINI SARMALAYAMAMIŞ, ANAYURT OLAMAMIŞ VATAN; ANAYURT OTELİ̇, 1-9
DOORS THAT WANTED TO BE OPENED, BUT CLOSED; EMPTY CORRIDORS THAT HAVE NO WAY OUT LIKE A MAZE, THE FEMININE POWER THAT WAS EXPECTED BUT NEVER CAME; DEMOCRACY, THE HOMELAND THAT COULD NOT SURROUND ITS PERSON WITH ITS ENTHUSIASM, COULD NOT BECOME A HOMELAND; THE HOMELAND HOTEL
http://dx.doi.org/10.29228/ASOS.64947
Selma KÖKSAL