Nanjing University of Technology
毕业设计英文资料翻
Nanjing University of Technology 毕业设计英文资料翻译
资料编号：[258808]，资料为PDF文档或Word文档，PDF文档可免费转换为Word
Introduction
Value of art and artists has been an issue of ongoing debate in Turkey. It is often argued that artists and especially “genuine” artists can hardly be popular and receive the respect they deserve. Mass media mainly focuses on tabloidizing artists and their achievements along with their private lives. Even though there is no agreement on the qualifications to distinguish between “genuine” and other artists, almost everybody blames mass media for under- and misrepresentation of “genuine” artists. Despite this widespread criticism, there is little academic research on the presentation of artists in mass media. During our research, we have not encountered any academic works that focus on how artists that brought international prizes to Turkey in the field of cinema, painting, music, sculpture, ceramics, architecture etc. are/were represented in main stream mass media in Turkey. When the Turkish cinema celebrated its one hundredth anniversary in 2014, Nuri Bilge Ceylan, a renowned Turkish film director with who had proven his value with numerous international prizes, gave Turkish cinema a great gift: the Golden Palm. Our research concentrates on Ceylanrsquo;s presentation in the Turkish media and microblog sites especially after he won the Golden Palm. Media is an important tool influencing perceptions, attitudes and behaviors of individuals and masses. News reports and comments on “genuine” artists may affect opinions of the public. The main aim of this study is to elaborate on how Ceylan, one of the most successful film directors of the present day Turkish cinema, is perceived and presented in the mainstream Turkish media. CINEJ Cinema Journal: Presentation of Nuri Bilge Ceylan and His Cinema in The Turkish Media 31 The Internet is the leading communication media of our time as it provides its users with the opportunity to express their feelings and ideas in a relatively free way. In addition, it is an important tool for individuals to interact with their peers and learn about some specific topics. Examination of ideas and thoughts of young Turkish Internet and micro blog users can provide a reliable starting point to determine how people perceive the media presentations of Ceylan and his cinema. Therefore this article also focuses on the thoughts and ideas of a certain group of microbloggers. The study uses discourse analysis to explore how the contents about Ceylan and his cinema are displayed and presented within the selected media. Also mini blog entries are analyzed via discourse analysis. By focusing on the presentation of Ceylan in Turkish media, we also aim to drawconclusions on the reasons for low and shallow presentation of “genuine” artists in the Turkish mass media.Nuri Bilge Ceylan and his Cinema
Ceylan was born in Istanbul in 1959. Following his graduation from the department of electric engineering at Boğaziccedil;i University, he studied cinema at Mimar Sinan University, Faculty of Fine Arts for two years. (Wood 2006, p.20; Pay 2009, p.72). He started photography at the age of fifteen and some of his portfolios were published in prestigious art magazines, such as Gergedan (Rhinoceros) in 1980s many years before he started cinema (Wood 2006, p.21; Hakan 2009, p.474). In 1989, a series of his photographs were published in Argos under the title of Ccedil;ıplak ve Deniz (The Naked and the Sea) (Tosun 2005a, p.256). Ceylan started cinema as a director with his twenty-minute, black-and-white short film Koza (Cocoon) in 1995 (Suner 2006, p.105). This black and white film shed light to lives of an estranged elderly couple. It was enacted by Ceylanrsquo;s own parents and received warm reception at CINEJ Cinema Journal: Zafer Parlak amp; Mehmet Işık 32 the 48th Cannes Film Festival (Douml;nmez-Colin 2014, p.92). After Cocoon, Ceylan shot his first featured movie Kasaba (The Town) in 1997. This predominantly autobiographical movie is the story of a family living in a small and relatively closed town in Anatolia, Turkey, depicted through the eyes of children struggling with pangs of early adulthood. The film participated in several film festivals and received many prizes. Ceylan received the best director award at Golden Orange Film Festival in Antalya in 1999 with his Mayıs Sıkıntısı (Clouds of May). Similar to Ceylanrsquo;s previous film, The Town, it is an introspective story of a film director who goes back to his hometown to shoot a movie using local people in the cast (Cardullo 2015, p.238). These three films are referred as Ceylanrsquo;s autobiographical trio of the province, through which he estranges himself from the traditional narrative of Turkish cinema and adopts his peculiar narrative technique. His movie Uzak (Distant), which focuses on two lonely and estranged cousins, recei剩余内容已隐藏，支付完成后下载完整资料
Nanjing University of Technology 毕业设计英文资料翻译
Introduction
Value of art and artists has been an issue of ongoing debate in Turkey. It is often argued that artists and especially “genuine” artists can hardly be popular and receive the respect they deserve. Mass media mainly focuses on tabloidizing artists and their achievements along with their private lives. Even though there is no agreement on the qualifications to distinguish between “genuine” and other artists, almost everybody blames mass media for under- and misrepresentation of “genuine” artists. Despite this widespread criticism, there is little academic research on the presentation of artists in mass media. During our research, we have not encountered any academic works that focus on how artists that brought international prizes to Turkey in the field of cinema, painting, music, sculpture, ceramics, architecture etc. are/were represented in main stream mass media in Turkey. When the Turkish cinema celebrated its one hundredth anniversary in 2014, Nuri Bilge Ceylan, a renowned Turkish film director with who had proven his value with numerous international prizes, gave Turkish cinema a great gift: the Golden Palm. Our research concentrates on Ceylanrsquo;s presentation in the Turkish media and microblog sites especially after he won the Golden Palm. Media is an important tool influencing perceptions, attitudes and behaviors of individuals and masses. News reports and comments on “genuine” artists may affect opinions of the public. The main aim of this study is to elaborate on how Ceylan, one of the most successful film directors of the present day Turkish cinema, is perceived and presented in the mainstream Turkish media. CINEJ Cinema Journal: Presentation of Nuri Bilge Ceylan and His Cinema in The Turkish Media 31 The Internet is the leading communication media of our time as it provides its users with the opportunity to express their feelings and ideas in a relatively free way. In addition, it is an important tool for individuals to interact with their peers and learn about some specific topics. Examination of ideas and thoughts of young Turkish Internet and micro blog users can provide a reliable starting point to determine how people perceive the media presentations of Ceylan and his cinema. Therefore this article also focuses on the thoughts and ideas of a certain group of microbloggers. The study uses discourse analysis to explore how the contents about Ceylan and his cinema are displayed and presented within the selected media. Also mini blog entries are analyzed via discourse analysis. By focusing on the presentation of Ceylan in Turkish media, we also aim to drawconclusions on the reasons for low and shallow presentation of “genuine” artists in the Turkish mass media.Nuri Bilge Ceylan and his Cinema
Ceylan was born in Istanbul in 1959. Following his graduation from the department of electric engineering at Boğaziccedil;i University, he studied cinema at Mimar Sinan University, Faculty of Fine Arts for two years. (Wood 2006, p.20; Pay 2009, p.72). He started photography at the age of fifteen and some of his portfolios were published in prestigious art magazines, such as Gergedan (Rhinoceros) in 1980s many years before he started cinema (Wood 2006, p.21; Hakan 2009, p.474). In 1989, a series of his photographs were published in Argos under the title of Ccedil;ıplak ve Deniz (The Naked and the Sea) (Tosun 2005a, p.256). Ceylan started cinema as a director with his twenty-minute, black-and-white short film Koza (Cocoon) in 1995 (Suner 2006, p.105). This black and white film shed light to lives of an estranged elderly couple. It was enacted by Ceylanrsquo;s own parents and received warm reception at CINEJ Cinema Journal: Zafer Parlak amp; Mehmet Işık 32 the 48th Cannes Film Festival (Douml;nmez-Colin 2014, p.92). After Cocoon, Ceylan shot his first featured movie Kasaba (The Town) in 1997. This predominantly autobiographical movie is the story of a family living in a small and relatively closed town in Anatolia, Turkey, depicted through the eyes of children struggling with pangs of early adulthood. The film participated in several film festivals and received many prizes. Ceylan received the best director award at Golden Orange Film Festival in Antalya in 1999 with his Mayıs Sıkıntısı (Clouds of May). Similar to Ceylanrsquo;s previous film, The Town, it is an introspective story of a film director who goes back to his hometown to shoot a movie using local people in the cast (Cardullo 2015, p.238). These three films are referred as Ceylanrsquo;s autobiographical trio of the province, through which he estranges himself from the traditional narrative of Turkish cinema and adopts his peculiar narrative technique. His movie Uzak (Distant), which focuses on two lonely and estranged cousins, rec剩余内容已隐藏，支付完成后下载完整资料
资料编号：[258808]，资料为PDF文档或Word文档，PDF文档可免费转换为Word
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