Melis Behlil

Behlil, Melis

Name Variants

MELIS BEHLIL
BEHLIL, MELIS
Behlil, Melis
Melis, Behlil
B., Melis
B.,Melis
BEHLIL, Melis
M. Behlil
Behlil, M.
Melis Behlil
Behlil,M.
Behlil,Melis
Behlil, MELIS
Melis BEHLIL

Job Title

Doç. Dr.

Email Address

melisb@khas.edu.tr

ORCID ID

0000-0003-0040-9298

Scopus Author ID

55882565800

Full item page

Scholarly Output

32

Articles

5

Citation Count

16

Supervised Theses

20 Scholarly Output Search Results

Now showing 1 - 10 of 32

Taverna Kapısının Önünde Kısa Filmi Üzerinden Sinemada Edebiyat Uyarlaması Tanımları
(Kadir Has Üniversitesi, 2018) Ateş, Enes; Behlil, Melis; Behlil, Melis
Literature adaptation has been practiced throughout the history of cinema and it has become a tradition to resurrect literary works in a different medium. Adaptations are made for cultural and artistic aims, however the popularity of the literary sources sometimes engenders commercial purposes. In this thesis study, my short film named Taverna Kapısının Önünde (In Front of the Tavern Door), which is also a literary adaptation, will be evaluated under the title of literary work to cinema adaptations. The project I have done, will explain how I perceive literature adaptation as a film director. The film Taverna Kapısının Önünde (In Front of the Tavern Door) aims to bring a new dimension to the perception of short stories to big screen adaptation and it also aims to add an innovative work to the field.
ZABRISKIE POINT (1970), MICHELANGELO ANTONIONI AND EUROPEAN DIRECTORS IN HOLLYWOOD
(Bloomsbury Publishing Plc., 2018) Behlil,M.; Behlil, Melis
[No abstract available]
Mesafe Senaryosu Bağlamında Günümüz Türk Sinemasında Erkeklik Krizi
(Kadir Has Üniversitesi, 2017) Akar, Zafer; Behlil, Melis; Behlil, Melis
Ataerkil toplumun beklentileriyle kurgulanan erkek olma sureci ve bu surecte erkege atfedilen gorevler bireyi eril krize surukleyebilmektedir. Bu durum Turk Sinemasinda ozellikle 1990’lardan gunumuze kadar erkek karakterler araciligiyla pek cok kez orneklendirilmistir. Bu calismanin ana konusu olan Mesafe (Zafer Akar 2017) filmi senaryosunun ana karakteri Mehmet uzerinden erkeklik krizine neden olan hadiseler anlasilmaya calisilmaktadir. ote yandan bu calismada analiz edilecek olan Uzak (Nuri Bilge Ceylan 2002) Kader (Zeki Demirkubuz 2006) ve Kis Uykusu (Nuri Bilge Ceylan 2015) Gunumuz Turk Sinemasi’nda erkeklik krizini carpici bir bicimde gostermeleri ve soz konusu filmlerin karakterlerinin Mesafe senaryosunun Mehmet’i ile benzerlikler barindirmalari bakimindan secilmistir.
Finansal Kriz Belgesellerinin Sinematik Dil ve Metaforlar Açısından Analizi
(Kadir Has Üniversitesi, 2019) Özdökmeci, Ayça Aydın; Behlil, Melis; Behlil, Melis
2008 Küresel Finans Krizi beraberinde önemli bir tartışmayı da ortaya çıkarmıştır. Küresel düzeyde bu denli olumsuz sonuçlar doğuran finansal sektör temelli bir krizin, konunun uzmanları tarafından öngörülememiş olması kamuoyunu oldukça uzun bir süre meşgul etmiştir. Dikkat çekici bir şekilde kriz sonrası dönemde ise bireylerin, kriz ve finansal sektör hakkında detaylı bilgilere, değerlendirmelere ve uzman görüşlerine finansal kriz temalı belgeseller aracılığı ile ulaşabileceği bir ortam oluşmuştur. Bu noktadan yola çıkarak krizden bu yana geçen son on yıllık dönemde çekilen finansal kriz belgeselleri arasından on beş tanesi seçilmiş ve Nichols'ın (2017) mod teorisi temel alınarak bu on beş belgesel sinematik dil ve kullandıkları metaforlar açısından karşılaştırmalı bir şekilde analiz edilmiştir. Analiz sonucunda bu belgesellerin detaylı bir şekilde kriz ile ilgili kavram, durum ve süreçleri izleyiciye açıkladıkları görülmüş ve tüm bu belgesellerdeki baskın belgesel biçiminin açıklayıcı mod olduğu tespit edilmiştir. Finansal kriz belgeselleri açıklayıcı modun sahip olduğu özellikleri ve biçimsel stratejileri kullanarak barındırdıkları argümanı bilgilendirici bir mantıkla izleyiciye ulaştırmaya çalışmaktadırlar. Çalışmada baskın belgesel modunun belirlenmesinin ardından açıklayıcı modun bu belgeseller içinde hangi biçimsel stratejilerle işlerlik kazandığını ortaya koymak adına biçim analizi kullanılarak belgesel dili, görsel dil ve metafor kullanımı üzerinde detaylı bir inceleme gerçekleştirilmiştir. Bu inceleme sonucunda da finansal kriz belgesellerinde kullanılan ortak bir sinematik dil ve metafor kullanımının mevcut olduğu anlaşılmıştır. Ortaya çıkan bu örtüşme, araştırmaya konu olan belgesel sayısının çokluğu nedeniyle ve bu ortak biçimsel stratejilerin bir arada sunulması amacıyla sinemanın kendi araçları kullanılarak çoklu biçimli (multimodal) bir formatta ifade edilecektir. Çalışma, finansal kriz belgesellerinde örtüşen sinematik dil ve metafor kullanımını ortaya koyan görsel-işitsel video çalışma ile tamamlanacaktır. The 2008 Global Financial Crisis has brought about an important debate. The fact that a crisis deeply rooted in the financial sector and which produced such adverse outcomes was not foreseen by specialists on the subject, has extensively been discussed by the public for a long while. Noticeably, in the post crisis period an environment emerged in which individuals could access detailed information on the crisis, financial industry, evaluations and expert opinions through documentaries that focused on the subject. Consequently, fifteen financial crisis documentaries shot within the last decade were selected and these fifteen documentaries were analyzed based on Nichols' (2017) modes theory with regards to the cinematic language and metaphors they used. As a result of this analysis, it was concluded that these documentaries explained the concepts, circumstances and processes related to the crisis in a detailed manner and it was determined that the dominant documentary style in all of these documentaries was the expository mode. Financial crisis documentaries try to convey the intended argument to their audience with an informative sense by using features and formal strategies that the expository mode entails. After determining the dominant documentary mode in the study, a detailed analysis was conducted on documentary language, visual language and metaphor usage by using form analysis, in an effort to reveal how the expository mode functions and through which stylistic strategies. Based on this research, it was determined that usage of a common cinematic language and metaphors was present in these documentaries on the financial crisis. This resulting overlap will be expressed in a multi-modal format due to the large number of documentaries subject to the study and in an effort to present these common formal strategies by using the respective instruments of cinema. The study will be completed with an audiovisual video study showcasing the overlapping cinematic language and metaphor use in these financial crisis documentaries.
Better Late Than Never? the Role of Policy in the Turkish Cinematic Revival
(Intellect Ltd, 2010) Behlil, Melis; Behlil, Melis
[Abstract Not Available]
The Dead Are Alive: The Exotic Non-Place of the Bondian Runaway Production
(AMSTERDAM UNIV PRESS, 2021) Behlil, Melis; Behlil, Melis; Prado, Ignacio M. Sanchez; Verheul, Jaap
This chapter dissects the opening sequences of Skyfall (2012) in Istanbul and Spectre (2015) in Mexico City in order to argue that Eon's predilection for runaway productions has begun began to influence the textual composition of the James Bond film series. Eon Productions often modifies the narratives and settings of its Bond features in order to exploit the increasingly global availability of funding schemes, tax incentives, and cheap labor, and to secure, on a global scale, profitable distribution deals, enhanced visibility, and greater revenues from merchandizing. In the process, the Bondian runaway production fashions a colonial imaginary of exotic non-places, which has since long been a staple of the brand of Bond.
"we Will Fix It in Post", but How Will We Fix Post? Digital Post Labor Processes in Turkey's Film Industry
(Kadir Has Üniversitesi, 2018) Duman, Oya Aytimur; Behlil, Melis; Behlil, Melis
Digital cinema has been one of the most groundbreaking technological innovations since the invention of cinema and has been a remarkable area of study with the multifaceted alterations it has led to in film theories and filmmaking practices. While many studies on digital cinema cover the benefits brought in, it is also significant to investigate the implications of a tremendous technological change on the labor processes as an important feature in filmmaking. This thesis inquires the changing working conditions of post production workers in Turkey's film industry, looking deeply into the influences of transition from digital intermediate post process to entirely digital cinema system. In order to comprehend the effects of the mentioned transition, the thesis relies on a theoretical framework of production studies and political economy approaches; while the research has been supported by means of empirical inquiry consisting of the expressions of post production professionals about their experiences and opinions. The aim of the thesis is to fill a gap in the literature about Turkey's film industry, by drawing attention to the labor processes in post production revealing its connection with the misuse of the opportunities digital cinema system enables within a capitalist industrial pattern.
Dijital Çağda Kimlik Olusturmak: Sanal Gerçeklik Yanilsama ve Gözetim “suret” Kısa Film Çalışması Örneği
(Kadir Has Üniversitesi, 2014) Azap, Özge; Behlil, Melis; Behlil, Melis
Bu calismanin amaci “SURET” adli kisa film calismasini olusturulurken dayandirilan kavramsal cercevenin ortaya konulmasidir. Buna gore calismanin konusu dijital cagin teknolojileri araciligiyla olusturulan sanal kimliklerin yanilsamali bir yapida olmasi ve yine bu teknolojilerin toplumu gozetim toplumuna cevirmesidir. Bu dogrultuda sanal gerceklik kavrami ve sanal gercekligin sinemada nasil temsil edildigi incelenmistir.
East Is East?: New Turkish Cinema and Eastern Europe
(John Wiley and Sons, 2012) Behlil, Melis; Behlil, Melis
[Abstract Not Available]
Transgressive Mockumentary as a Critique of Conventional Filmmaking Practices
(Kadir Has Üniversitesi, 2022) Şatır, Berkay; Behlil, Melis; Behlil, Melis
Mockumentary film is the parodic conjoint of fiction narrative with documentary-style narration, popularized since the 1980s with the release of the iconic This is Spinal Tap. While many mockumentaries take advantage of canonical documentary forms merely for comedic purposes, certain examples exploit their hybridism for critical purposes by the use of self-reflexive strategies. Certain critical mockumentaries instrumentalize the self reflexive narration to indicate opponent statements about the filmmaking codes and conventions beyond the subversion of the canons. Counter-cinematic particularities of these mockumentaries share similarities with the transgressive characteristics indicated by the Cinema of Transgression Manifesto such as counter-cultural, shocking, and humorous narratives, anti-structuralist and anti-conventional narrations, and anti authoritarian and independent filmmaking practices. Regarding the interdisciplinary use of the term transgressive, categorization of such critical mockumentaries as transgressive mockumentary is pertinent. Cinema of Transgression manifesto proposes a transformation through transgression that is liberating and transfiguring. Through parodical counter-practices on the margins of canonical forms and texts, the instrumentalization of self-reflexivity in transgressive mockumentaries raises a critique of conventional filmmaking practices. Their critique function as the unveiling of the illusionism and ideological and emotional imposition of conventional practices and is transformative for the spectator’s understanding of conventional film.