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Cinematic Narration in Altın Çocuk and James Bond Differences, Similarities and Geographies

Year 2023, Volume: 27 Issue: 4, 323 - 328, 01.12.2023

Abstract

Today, many recurrent narratives are presented and transmitted to our image world by cultural
industries. The various adaptations of James Bond, who is an important hero of popular cinema
and encountered in different geographies, can be seen as an important reflection of cultural transmission. There are examples where the interactions of James Bond films can be seen in Turkish
cinema, which is called the “Yeşilçam Era.” In this context, the global influence of Bond movies
will be examined through Altın Çocuk movies of Göksel Arsoy, known as Turkish James Bond. The
study analyzes the relationship between Altın Çocuk and Altın Çocuk Beyrut’ta, and Thunderball
and You Only Live Twice.

References

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  • Akbulut, H. (2008). Kadına melodram yakışır Türk melodram sinemasında kadın imgeleri. Bağlam Yayınları.
  • Arsoy, G. (2017). Altın çocuk. Remzi Kitabevi.
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Year 2023, Volume: 27 Issue: 4, 323 - 328, 01.12.2023

Abstract

References

  • Akad, L. (2004). Işıkla karanlık arasında. Türkiye İş Bankası Kültür Yayınları.
  • Akbulut, H. (2008). Kadına melodram yakışır Türk melodram sinemasında kadın imgeleri. Bağlam Yayınları.
  • Arsoy, G. (2017). Altın çocuk. Remzi Kitabevi.
  • Bengi, D. (2018). 60’lı yıllarda Türkiye: Sazlı cazlı sözlük. Yapı Kredi Yayınları.
  • Civelek, O. (2019). Yeşilçam’ın buluntu evreni: Fantastik Türk sineması. In D. Bayrakdar (Ed.), Türk film araştırmalarında yeni yönelimler 15 (ss. 163–184) Bağlam.
  • Dodds, K. (2005). Screening geopolitics: James bond and the early cold war films (1962–1967). Geopolitics, 10(2), 266–289. [CrossRef]
  • Durdu, B. (2018). Zeynep Çetin Erus, ‘Yeşilçam neredeyse bir uyarlama sinemasıdır’. Retrieved from https://www.tsa.org.tr/tr/yazi/yazidetay/414/zeyne p-cetin-erus---yesilcam-neredeyse-bir-uyarlama-sinemasidir. Accessed September 10, 2021.
  • Erdoğan, N. (2002). Mute bodies, disembodied voices: Notes on sound in Turkish popular cinema. Screen, 43(3), 233–249. [CrossRef]
  • Funnell, L. (2011). Negotiating shifts in feminism: The ‘Bad’ girls of James Bond. In M. Waters (Ed.). Women on screen: Feminism and femininity in visual culture (pp. 199–212). Palgrave Macmillan. Funnell, L., & Dodds, K. (2017). Geographies, genders and geopolitics of James Bond. Palgrave Macmillan.
  • Gülçur, A. (2016). Türk sinemasında Yeşilçam dönemi. In E. Çağlak (Ed.). Bu toprakların iletişim tarihi (ss. 227–236). Nobel Akademik Yayıncılık.
  • Haworth, C. (2015). Pussy galore: Women and music in goldfinger. In L. Funnell (Ed.), For his eyes only the women of James Bond (pp. 157–166). Wallflower Press.
  • Hutcheon, L. (2006). A theory of adaptation. Routledge.
  • Jones, S. (2015). Women drivers the changing role of the bond girl in vehicle chases. In L. Funnell (Ed.), For his eyes only the women of james bond (pp. 205–213). Wallflower Press.
  • Markos, L. (2006). Nobody does it better why James Bond still reigns supreme. In G. Yeffeth & L. Wilson (Eds.), James Bond in the 21st century why we still need (pp. 163–170). Benbella.

Details

Primary Language Turkish
Subjects Social Work (Other)
Journal Section Research Articles
Authors

Mert GÜRER

Harun Mustafa TÖLE This is me

Publication Date December 1, 2023
Published in Issue Year 2023 Volume: 27 Issue: 4

Cite

APA GÜRER, M., & TÖLE, H. M. (2023). Cinematic Narration in Altın Çocuk and James Bond Differences, Similarities and Geographies. Current Perspectives in Social Sciences, 27(4), 323-328.

Content of this journal is licensed under a Creative Commons Attribution NonCommercial 4.0 International License

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