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Öğe Looking at Robert Altman’s cinema through an anti-hollywood perspective(OPUS Uluslararası Toplum Araştırmaları Dergisi, 2020) Taş Öz, Perihan; Erensoy, Şirin FulyaAbstract: This article aims to analyze Robert Altman’s narrative and cinematic discourses as developed through his personal style from an anti-Hollywood perspective, by looking at two of his films: McCabe and Mrs. Miller (1971) and Nashville (1975). The article will concentrate on filmic characteristics seen in many of Altman’s films but more prominent in these particular films. Among these characteristics, one can see subversion of generic tropes; particularly that of the western – a genre which is associated with America itself. Through the ironic subversion of narrative codes, Altman has created an anti-western text. While doing this, Altman often employs self-reflexive elements and open endings in order to make the audience reflect on the values of their culture, particularly popular culture. The films, made in the 1970s, come after a period of hope for society and Hollywood; while the revolutionary fervor of the 1960s had fizzled, the devastating effects of the Vietnam War were being felt throughout society. Moreover, Hollywood’s renaissance was slowly giving way to blockbusters. In the films examined, Altman engages in a criticism of American culture by looking at masculinity, politics and show business. This criticism is laden with irony, employing an anti-Hollywood perspective, as distinguished by his auteurism.Öğe Looking At Robert Altman’s Cinema Through An Anti-Hollywood Perspective(2020) Erensoy, Şirin Fulya; Öz, Perihan TaşThis article aims to analyze Robert Altman’s narrative and cinematic discourses as developed throughhis personal style from an anti-Hollywood perspective, by looking at two of his films: McCabe and Mrs.Miller (1971) and Nashville (1975). The article will concentrate on filmic characteristics seen in manyof Altman’s films but more prominent in these particular films. Among these characteristics, one cansee subversion of generic tropes; particularly that of the western – a genre which is associated withAmerica itself. Through the ironic subversion of narrative codes, Altman has created an anti-westerntext. While doing this, Altman often employs self-reflexive elements and open endings in order to makethe audience reflect on the values of their culture, particularly popular culture. The films, made in the1970s, come after a period of hope for society and Hollywood; while the revolutionary fervor of the 1960shad fizzled, the devastating effects of the Vietnam War were being felt throughout society. Moreover,Hollywood’s renaissance was slowly giving way to blockbusters. In the films examined, Altman engagesin a criticism of American culture by looking at masculinity, politics and show business. This criticismis laden with irony, employing an anti-Hollywood perspective, as distinguished by his auteurism.Öğe The Uncanniness of The Shining(2020) Erensoy, Şirin FulyaStanley Kubrick’s 1980 film The Shining has been examined and analyzed countless times up until today. Even though 40 years have gone by since its release, the film’s full meaning and the events happening to the Torrance family are still unclear. The film unfolds in a limbo-like state, between dream and reality. While writing the script, Kubrick states that he was inspired by Sigmund Freud’s Das Unheimlich (1919) essay. According to Freud, things or people that arouse feelings of dread and horror belong to the realm of the uncanny. The uncanny is related to what is frightening, but more importantly it entails a duality, an ambiguity because it encompasses the familiar with the unfamiliar. This study aims to locate the uncanny elements in The Shining, while also examining how conflicting desires that have been repressed can come to the surface through the dream-like setting of the Overlook Hotel.Öğe The Uncanniness of The Shining(Yedi: Journal of Art, Design and Science, 2020) Erensoy, Şirin FulyaÖzet: Stanley Kubrick’in 1980 yapımı The Shining (Cinnet) filmi, bugüne kadar sayısız defa incelenmiş ve analiz edilmeye çalışılmıştır. 40 yıl geçmiş olmasına rağmen, filmin gerçekte neyi anlatmak istediği, Torrance ailesinin başına gelen olayların aslı, hala tam olarak anlaşılmamıştır. Hayal ile gerçek arasında, belirsiz bir alanda süregelen filmin senaryosunu oluştururken Kubrick, Sigmund Freud’un Das Unheimlich (1919) isimli makalesinden yararlandığını belirtmiştir. Türkçe’ye tekinsizlik olarak çevrilmiş the uncanny, aşina olduğumuz insan ve şeylerin içinde yatan rahatsız edici duyguların neden olduğu korku ve endişe olarak nitelendirmektedir. Terimin temelinde bir ikilik yatmaktadır. Bu ikilik, tanıdık bir şeyin yabancılık içermesinden kaynaklanmaktadır, yani, tanıdık olan ile yeni beliren arasında oluşan bir haldir. Bu çalışmanın amacı da Cinnet filmindeki tekinsiz duygulara yol açan öğelerini tespit edip, filmdeki bastırılmış ve çelişkili olan arzuların Overlook Oteli’nin rüya-vari ortamında ne şekilde yüzeye çıkıp, egonun parçalanmasına tehdit oluşturduğunu incelemektir
