Radyo Televizyon ve Sinema Bölümü Koleksiyonu
Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/64
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Browsing Radyo Televizyon ve Sinema Bölümü Koleksiyonu by Author "Spence, Louise"
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Book Review Citation Count: 0Book Review Citation Count: 0Documentary Film: A Very Short Introduction(CINEASTE, 2008) Behlil, Melis; Spence, Louıse[Abstract Not Available]Editorial Citation Count: 0Forum: Visualizing History Visualizing Nation(Routledge Journals Taylor & Francis Ltd, 2014) Spence, Louıse[Abstract Not Available]Editorial Citation Count: 0In Focus: Non-Western Historiography? Introduction(Univ Texas Press, 2010) Spence, Louıse; Spence, Louise[Abstract Not Available]Book Part Citation Count: 0PERSPECTIVE SCHOLAR LOUISE SPENCE ON COMPARING THE SOAP OPERA TO OTHER FORMS(Univ Press Mississippi, 2011) Spence, Louıse; Spence, Louise[Abstract Not Available]Book Review Citation Count: 0Article Citation Count: 2Pushing the boundaries of the historical documentary: Su Friedrich's 1984 The Ties That Bind(Routledge Journals Taylor & Francis Ltd, 2012) Spence, Louıse; Cengiz, Esin PaçaThis article argues that Su Friedrich's 1984 film The Ties That Bind employs what were at the time atypical forms and techniques to push the limits of the traditional historical documentary. Its aesthetic experimentation helps to redefine the idea of historical representation in film and does so mainly by treating evidence as both partial (in both senses of the word) and contingent offering a radical challenge to normative history and destabilizing the notion of history as authority. Unlike conventional documentaries the film marks its own limitations: its inability to provide stable answers or eternal certainties. Questioning her mother's spoken memories and commenting on them Friedrich forces a rupture in the 'evidence' of history and establishes a place in which to 'speak' herself. By including the past that her mother is talking about on the sound track as well as the present on the image track (such as images of her mother's life in the early 1980s images of intertitles etched into the film emulsion revealing the questions Friedrich asked her mother and her reactions to the things her mother said as well as images of the filmmaker's visits to historical sites) Friedrich brings the present into the past and demonstrates how history is to quote Walter Benjamin 'time filled with the presence of the now'.Article Citation Count: 9The talking witness documentary: remembrance and the politics of truth(Routledge Journals Taylor & Francis Ltd, 2013) Spence, Louıse; Avci, Asli KotamanThis article argues that the conventional talking witness documentary by relying on memory of experience as evidence employs an inherently conservative politics of truth. Using a recent Kurdish video 5 No.lu Cezaevi/Prison No. 5 (Cayan Demirel 2009) as a case study it considers the opportunities and limitations of the talking witness form as well as its appeals. The essay pays special attention to the documentary's use of mimetic' affective engagement to break into the moral and conceptual space of trauma and the harrowing experiences of men and women who were incarcerated in the notorious Diyarbakr prison in eastern Turkey in the aftermath of the 1980 Turkish coup d'etat thus endeavoring to at once fix and disseminate memories of a violent past that run counter to state-authored versions of that history.Article Citation Count: 2Working-Class Hero: Michael Moore's Authorial Voice and Persona(Wiley-Blackwell, 2010) Spence, Louıse; Navarro, Vinicius[Abstract Not Available]
