Cinema Studies: Different Perspectives is essential reading for anyone interested in cinema discipline. The singular aim of this edited book of scholarly text is to stimulate and engage readers in the fast-changing, complex, and increasingly interdisciplinary nature of cinema studies, and to serve as a catalyst for future intellectual, academic, and professional-driven research agendas. It is believed that the integration of cinema studies with other disciplines will undoubtedly contribute to the development of the cinema field both in practice and in theory.
Therefore, each chapter of this book, which consists of 9 chapters, focuses on a sub-discipline such as advertising, new media, journalism, philosophy, technology, politics, and tourism. Each chapter concentrates on specific facets of cinema studies with different sub-disciplines by offering valuable insights for industry professionals, academicians, and students who want to excel in important aspects of cinema in the movie industry. A summary of the chapters included in this timely book is discussed below.
Chapter 1, by Semire Ruken Öztürk and Ali Karadoğan, provides a comprehensive literature analysis of cinema censorship evaluations in Turkey between 1985 and 1987. The films made in this period were analyzed under ten themes. These are sexuality; distorted image; reasons related to security forces; bad language; reasons for the title of the film; political reasons, other states, nations, or Atatürk; the Turkish flag; father, family, traditions, customs; drugs, suicide; and newspapers.
Chapter 2, by Doğa Çöl, explores the possibility of Plato’s diegesis through the moving image. This chapter mainly aims to question the possibility of a purely diegetic film and determines the significance of inquiring about such a work. For this, the author stresses understanding what Plato thinks of poetry in general, especially the difference between diegetic and mimetic poetry. Then the author stresses defining the film and comparing it with Plato’s diegesis and see if they are compatible. Consequently, the author questions whether the naming of a concept or, in this case, an artwork is valuable.
Chapter 3, by Burak Turten, determines audience acceptance of virtual reality (VR) films by analyzing the perceived benefits and risks based on the technology acceptance model (TAM) with thematic analysis. More specifically, it first provides the definition of virtual reality and then discusses its benefits and risks based on TAM for cinema audiences by providing examples from virtual reality in the cinema industry.
Chapter 4, by Gülsüm Çalışır and Armağan Bayrak, focuses on streaming platforms as a new generation of broadcasting. It mainly examines to answer why audiences prefer new generation streaming platforms and how ad-free content affects the popularity of these platforms. The authors stress the fact that these platforms offer more variety than traditional broadcast platforms, including local and global content, and direct the consumption habits of the audiences.
Chapter 5, by Kürşad Gölgeli, concentrates on the evolution of advertising in interactive movies and video games. It mainly examines current and potential changes in the relationship between advertising, movies, and video games. In this context, it evaluates the role of new media, interaction in movies and video games, marketing innovations, and advertising in the digital world.
Chapter 6, by Ersin Diker and Şeyma Kara, explores cinema advertisement and assesses the significance and evaluations of cinema advertisement. More specifically, the chapter examines how movie-going practices of cinema audiences in Turkey and how audience attitudes towards cinema advertisements differ in terms of some socio-demographic variables.
Chapter 7, by Ayşegül Çilingir and Nilay Akgün Akan, finds out the advertisement reflections of animated movies. It mainly aims to explore to what extent the surfaces and contents in the animated films are reflected in the ads within a specified period and to determine how the features that co-exist in the animation film and ad are created with the coding scale used.
Chapter 8, by Ahmet Biçer and Kadir Macit, mainly focuses on how journalism is represented in cinema. More specifically, this chapter analyzes the discourses produced about journalism in the context of criticism-evaluation-themed "Journalism in Cinema" in the November 2021 issue of Altyazı. In line with its subject and objective, the study briefly covers the literature and discussions on Journalism in Cinema and Cinema Magazines under different headings.
Chapter 9, by Aysegül Acar, examines the topic of film-induced tourism, the benefits, and disadvantages of film-induced tourism for the destination, and film-induced tourism products, together with the future directions of film-induced tourism in the field. The chapter offers suggestions to local governments and the film and tourism industry on how filmmaking can create new attractions for a destination.
I would like to thank Karabük University and Northern Arizona University for giving me the opportunity to contribute to the development of the cinema discipline. I especially thank Dr. Frederick DeMicco, who has created conducive and stimulating scholarly environments.
I am grateful to Dr. Muhittin Cavusoglu who compiled the index, for assistance. I also wish to record his enormous gratitude to Dr. Ayşegül Acar who has worked tirelessly on this project, for her generous support, patience, and assistance throughout the process.
In conclusion, I would also like to thank all authors who contributed to the production of this essential and timely book. I believe the chapters included in this book offer useful and important information for researchers, students, and practitioners in the context of cinema and related disciplines.
Author, A., Author, B., & Author, C. (2022). Title of the chapter. In B. Turten (Ed.), Cinema studies: Different perspectives (pp. XX–XX). USF M3 Publishing. https://www.doi.org/10.5038/9781955833059
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