SineFilozofi is an international, refereed, widespread, periodical electronic journal published twice a year. The journal, which has an interdisciplinary structure between the fields of cinema and philosophy, aims to provide ground for international academic debates in its field.

There is no application fee for academic content submitted for publication to the journal. This journal has adopted an open access policy, it is not for profit, and access to the journal content is free.

Scientific articles sent to the journal for publication must be in Turkish or English. The journal publishes original research, compilations, case reports, book reviews and interviews/interview articles coming from branches such as fine arts, philosophy and social sciences, which are closely related to this field, especially the intersection of cinema and philosophy, and which coincide with the publication policy.

SineFilozofi works on a voluntary basis. There is no royalty fee for the articles, book and film reviews, and conversations / interviews published in the content of the magazine. Manuscripts submitted to the journal must not have been published elsewhere or sent for publication.

To ensure that the journals's content is original, articles sent to the journal should not be published elsewhere or sent for publication. Sinefilozofi journal does not reserve the publication rights of the articles. All publication rights belong to the authors. However, articles published in the journal cannot be used without reference.

The target audience of the journal is open to anyone who thinks, especially academics, researchers, professionals, artists, students and related professional, academic institutions and organizations. The mission, vision and the target group of SineFilozofi are given detail in The Manifesto of SineFilozofi.

The Manifesto of SineFilozofi

1. Today, two prevailing orientations are observed in the studies on films in Turkey: The studies are either based on film theories or technique/form. This explicit situation also reflects to factions. However, cinema has such a big potential, namely “thought”, which cannot be assimilated under the details of theory and technique, and which cannot be massified into any clique or group.

2. The resources of thought are various: Art, Philoshopy, and Science. Philosophy, art, and science are the same in terms of essence, nevertheless they are different in terms of form. As Deleuze also emphasizes, art tries to reach its aims with thought, sensation and affection; while philosophy does the same with conceptions; and science does it with functions. Each of these is a different expression of thought.

3. SineFilozofi agrees with the notion of which Deleuze spoke that the relationship between “concept” and “sensation” is the most important answer to the problem of forming chaos. Philosophy and cinema, which works with conceptions and sensations respectively, by means of interaction, not only manifests thought in different manners, but also can build new and creative thoughts. Through mobilizing images in arts, cinema makes a central contribution to the expression and the creation of the emotional and sensational dimensions of thought. In today’s world, cinema is one of the most important arts as it helps the emotional dimension of thought, with Heidegger’s words, “cease to be hidden” and “put itself forth”.

4. In this sense, cinema is not an art just to enjoy. Asserting this kind of a sentence, for sure, does not mean to deny the entertaining aspect of the cinema. At the same time, however, cinema needs to be accepted as a mental creation about thought and philosophy. Philosophy tries to understand and give a meaning to the world, life itself, human relations and chaos by conceptions. Perhaps we can adapt Deleuze’s analysis of “deterritorializing” to cinema and philosophy in this manner: “Cinema tries to deterritorialize thought”, whereas philosophy tries to “reterritorialize” it again.

5. Nonetheless, the relation between “deterritorialization” and “territoralization” is similar to the poetic dance that was mentioned by Nietzsche in Birth of Tragedy. This is a dance
that in the period of acting its elements are not excluding one another but need the other to move, that is both tense and contradictory besides at times Apollionic but then
Dionysosic. Philosophy is not superior to cinema and vice versa in this poetic dance through which the conceptional Apollon/philosophy first forms the overflowing and enthusiastic Dionysos/cinema, then having been impressed by Dionysos falls back and finally reaches a new concept.

6. SineFilozofi is a journal which tries to go on a philosophical journey with movies, and which produces its language and perspective on these grounds. A journey with movies means feeling that we are side by side with them and experiencing emotion and conception together, simultaneously but in different modes.

7. SineFilozofi advocates that each movie has a “concern” and we can not uncover or unhide this “concern” only by dry scientific sentences, mechanical analyses, film theories and formal texts.

8. Perceiving form and content as a whole depends on finding creative and novel words to interpret different films. Concerning that his films are not watched by many people, Godard, says: “If they watched my films, they would give themselves eighty percent into them. Yet, if you go and watch Titanic, you give only ten percent of your personality into it. Good films have less viewers, but these films take a lot from them.”
SineFilozofi attempts to understand, feel and explain both kind of the films –which take a lot or only a little from their viewers. In this context, SineFilozofi, adopting a concept where masters, headworkers and apprentices work together, tries to watch different films with different poetic languages. Thus, in addition to finding the concern in the mass culture cinema products like Star Wars, it also follows a language that aims to reveal emotion and concern in the films of intellectual directors, such as Godard.

9. SineFilozofi supports the idea that cinema does not simply imitate the world, on the contrary it interferes with and constructs the world. Its fundemantal question is what
films do to us and how. The traces of the answer will be followed with the help of philosophical conceptions and cinematic images.

10. Cinema has the potential of showing not only what can be thought but also what cannot be thought. Nevertheless, SineFilozofi believes that a step beyond Wittgenstein’s understanding “whereof one cannot speak, thereof one must be silent” is possible, instead adopts a new one: “must not be silent” with the help of the friction among philosophical conceptions and the images in films. Cinema does this by showing, whereas philoshopy does the same by continuously following new creative and productive things and new conceptions. The combination of these two is a brand new philosophy: SineFilozofi.

SineFilozofi offers to gather all the people who take cinema and philosophy in consideration seriously but are scattered around Turkey; and their forces together. Interlocked one another around the journal this independent and autonomous synergy, beyond forming any kinds of factions and cliques, is going to follow thought only. CinePhilosophical Community is open to anyone who interiorizes this slogan, or to anyone who at least ponder over it even if they do not fully interiorize. The community offers carrying out cinephilosophical translations, compilations and meetings on an intellectual and artistic plane.
Thought has philosophical and artistic appearances.

IF THE PURPOSE IS THOUGHT, IT IS NECESSARY TO UNITE FORCES.

SineFilozofi is open to all works coming from branches such as fine arts, philosophy, social sciences that are in close relationship with this field, especially the field where cinema and philosophy intersect, and that coincide with the publication policy.

SineFilozofi is open to all works coming from branches such as fine arts, philosophy, social sciences that are in close relationship with this field, especially the field where cinema and philosophy intersect, and that coincide with the publication policy.

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