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Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami

Bilkent University, Department of Communication and Design. Dreaming) is like being in a stuffy room and opening a window. You let the air come in and then you breathe. In my mind, our dreams are like windows in our lives, and the significance of cinema is in its similarity to this window.". Taken from an interview with Abbas Kiarostami-. Visual Communication Research Project:. Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami. Abbas Kiarostami and The New Iranian Cinema.

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Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami | yavuz-research.tripod.com Reviews

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Bilkent University, Department of Communication and Design. Dreaming) is like being in a stuffy room and opening a window. You let the air come in and then you breathe. In my mind, our dreams are like windows in our lives, and the significance of cinema is in its similarity to this window.. Taken from an interview with Abbas Kiarostami-. Visual Communication Research Project:. Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami. Abbas Kiarostami and The New Iranian Cinema.

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2 yavuz tümer

3 ankara turkey

4 introduction

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6 conclusion

7 works cited

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10 reviews

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Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami | yavuz-research.tripod.com Reviews

https://yavuz-research.tripod.com

Bilkent University, Department of Communication and Design. Dreaming) is like being in a stuffy room and opening a window. You let the air come in and then you breathe. In my mind, our dreams are like windows in our lives, and the significance of cinema is in its similarity to this window.". Taken from an interview with Abbas Kiarostami-. Visual Communication Research Project:. Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami. Abbas Kiarostami and The New Iranian Cinema.

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yavuz-research.tripod.com

1

A Debate on Reflexivity and Realism: Opposite Polars or InterpenetratingComponents

http://yavuz-research.tripod.com/ADebateonReflexivityandRealism.htm

A Debate on Reflexivity and Realism: Opposite Polars or Interpenetrating Components? Long-take duration shots and deep-focus styles that are to be used to create an experience closer to real life. Bazin stated that the realist movement actually began with Lumieré brothers’ documentary-like films and continued with other filmmakers, including directors of the Italian Neo-realist movement, a movement which Bazin saw as having great potential of what he envisions as the classical realist cinema (61-82).

2

Nuri Bilge Ceylan and The New Turkish Cinema

http://yavuz-research.tripod.com/NuriBilgeCeylanandTheNewTurkishCinema.htm

Nuri Bilge Ceylan and The New Turkish Cinema. With the coming of the 80’s, Turkish cinema witnessed a serious downfall. After the military coup in September 12. 1980, the feelings of isolation and fear pervaded to all layers of the society, and made cinema an undesirable social event. The post-September 12. Starring legendary Turkish actor Şener Şen, is being seen today as the landmark of the resurrection of Turkish Cinema as a popular form of entertainment.

3

A Focus on Mayıs Sıkıntısı, A Taste of Cherry and The Wind Will Carry Usin Means of Their Involvement with Realism and Self-R

http://yavuz-research.tripod.com/AFocus.htm

A Focus on Mayıs Sıkıntısı. A Taste of Cherry. And The Wind Will Carry Us. In Means of Their Involvement with Realism and Self-Reflexivity. If we think of filmic reflexivity in the way Stam defines it, as the foregrounding of the materials and processes of art (Film Theory: An Introduction, 151), it is then not quite possible to see Ceylan’s Uzak. And Kiarostami’s The Wind Will Carry Us. And Life and Nothing More. Or A Taste of Cherry. Nuri Bilge Ceylan foregrounded the creation process of Kasaba,. When ...

4

Abbas Kiarostami and The New Iranian Cinema

http://yavuz-research.tripod.com/AbbasKiarostamiandTheNewIranianCinema.htm

Abbas Kiarostami and The New Iranian Cinema. Kiarostami’s first film Bread and The Alley. After shooting some other short films in which he used children as actors and told simple stories similar to Bread and The Alley. Kiarostami shot his first long lenght film, titled Where Is My Friend’s Home? Is a good example of the post-revolutionary Iranian art cinema, which also shows us that as a pre-revolutionary filmmaker, Kiarostami. 1969), is a movement that started from the beginning of the 90’s and involve...

5

Introduction

http://yavuz-research.tripod.com/Introduction.htm

This study seeks the ways in which the elements of self-reflexivity and realism operates in some particular films by these two contemporary auteurs, and also tries to identify the feelings and impressions it might leave on the audience, when these elements are used in different ways. Moving from that point of view, this study also asserts that the cooperation of self-reflexivity and realism, which can especially be seen in the film Mayıs Sıkıntısı. 1999) and Abbas Kiarostami’s A Taste of Cherry. Therefor...

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Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami

Bilkent University, Department of Communication and Design. Dreaming) is like being in a stuffy room and opening a window. You let the air come in and then you breathe. In my mind, our dreams are like windows in our lives, and the significance of cinema is in its similarity to this window.". Taken from an interview with Abbas Kiarostami-. Visual Communication Research Project:. Realism and Self-Reflexivity in the Films by Nuri Bilge Ceylan and Abbas Kiarostami. Abbas Kiarostami and The New Iranian Cinema.

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