Abstract: In this increasingly visual world, how can we best decipher and understand the many ways that our everyday lives are organized around looking practices and the many images we encounter each day? Indeed, how we interact with and interpret visual images is a basic component of human life. Today, however, we are living in one of the most artificial visual and image-saturated cultures in human history, which makes understanding the complex construction and multiple social functions of visual imagery more important than ever before. Themes regarding our experience of a visually pervasive mediated culture, here, termed visual spectacle.
Abstract: The cinema in Turkey during the 1940s was shaped
under the Second World War conditions. The amateur film makers
from different socioeconomic roots experienced movie production in
those years. Having similar socioeconomic characteristics and
autobiographies, each of them has a different understanding of
cinema. Nevertheless, they joined in making movies which address
native culture and audience. They narrated indigenous stories with
native music, amateur players and simple settings. Although the
martial law, censorship and economical deficiencies, they started to
produce films in the Second World War. The cinematographers of the
1940s usually called as thetransition period cinematographers in
Turkey, producing in the passage between the period of thetheatre
playersand the period of thenational cinema. But, 1940- 1950 period
of Turkish cinema should be defined not as a transition but a period
of forming the professional conscioussness in cinema.