Radyo telev zyon s nema anab L m dali lat n amer ka
Yüklə 4,8 Kb. Pdf görüntüsü
|
193 Bentes, Ivana (2003b), “The Sertao and the Favela in Contemporary Brazilian Film”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. Berg, Stephen (2003), “ Brazil's 'Chanchadas'”, Hemisphere: A Magazine of the Americas, Spring2003, Vol.12. Bertinier, Nancy (2003), “Memorias del Subdesarrollo”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Biryıldız, Esra (2002), Sinemada Akımlar, Beta, stanbul. Braga, Maria Helena (2001), “Representation and National Identity in Rio de Jeneiro: Walter Salles Jr.’s A Grande Arte”, Studies in Latin American Popular Culture, 2001, Vol. 20. Buchsbaum, Jonathan (2001), “A Closer Look at Third Cinema”, Historical Journal of Film, Radio and Television, Vol.21, No.2. Bunuel, Luis (1987), Son Nefesim, Çev. lkay Kurdak, AFA, stanbul. Buscombe, Edward (2003), Cinema Today, Phaidan Pres, NY. Burns, Bradford (1973), “The Latin American Film, Realism and the Historian”, The History Teacher, Vol.6, No.4, Aug 1973. Campbell, Leon, G., Carlos, E. Cortes (1979), “Film as a Revolutionary Weapon: A Jorge Sanjines Retrospective”, The History Teacher, Vol.12, No.3, Mayıs 1979. Chanan, Michael (1985), “The Economic Condition of Cinema in Latin America”, Third World Affairs. 194 Chanan, Michael (1998), “Latin American Cinema in the 90s. Representational Space in Recent Latin American Cinema”, Cultura visual en America Latina, Vol.9, No.1. Chanan, Michael (2002), “We Are Losing All Our Values: An Interview with Tomas Gutierrez Alea”, Boundary 2, Fall 2002. Cirhinlioğlu, Zafer (1999), Azgelişmişliğin Toplumsal Boyutu, mge, Ankara. Cynthia, Ramsey (1988), “Third Cinema in Latin America: Critical Theory in Recent Works”, Latin American Research Review, Vol.23, no.1. Davies, Catherine (1997), “Modernity, Masculinity and Imperfect Cinema in Cuba”, Screen, Winter 1997. Dennison, Stephanie (2000), “A Meeting of Two Worlds: Recent Trends in Brazilian Cinema”, Journal of Iberian and Latin American Studies, vol.6, No.2. Diegues, Carlos (2003), “The Cinema that Brazil Deserves”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. D’Lugo, Marvin (2003), “Autorship, Globalisation and the new Identity of Latin American Cinema: From the Mexican ‘Ranchera’ to Argentinian ‘Exile’”, Anthony R Guneratne, Wimal Dissanayake (ed.), Rethinking Third Cinema, Routledge, NY. Doremus, Anne (2002), “Religion, The Church and Mexican Nationalism: The Films of Emilio Fernandez”, Studies in Latin American Popular Culture, vol.22. Elena, Alberto, Marina Díaz Lopez (ed.) (2003), The cinema of Latin America, Wallflower, Londra. 195 Elena, Alberto (2003), “Terra Estrangeira”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Espana, Claudio (2003), “La Casa del Angel”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Esther, John (2005), “Chile in the Times of Generals: An Interview with Andres Wood”, Cineaste, Summer 2005. Ferro, Marc (2002), Sömürgecilik Tarihi: Fetihlerden Bağımsızlık Hareketlerine Kadar, 13.-20. Yüzyıl, Çev: Muna Cedden, mge, Ankara. Fraunhar, Alison (2005), “Mulatta Cubana: The Problematic of National Allegory”, Lisa Shaw, Stephanie Dennison (ed.), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Galeano, Eduardo (1983) Latin Amerikanın Kesik Damarları: Karşı Tarih, Çev: Atilla Tokatlı, Roza Hamken, Alan, stanbul. Gazetas, Aristides (2003), “Üçüncü Sinema: Afrika, Latin Amerika ve Asya’da Sömürgecilik Sonrası Anlatılar”, Çev. pek A. Zeis, Ayşe Türkmen, Film, 2003. Godfrey, Brian (1993), “Regional Depiction in Contemporary Film”, Geographical Review, Vol.83, No.14. Grant, Catherine (1997), “Camera Solidaria”, Screen, Winter 1997. Guazar, Eduardo (2003), “Tales of Corruption”, Hemisphere: A Magazine of the Americas, Spring2003, Vol. 12. 196 Guneratne, Anthony R. (2003), “Introduction: Rethinking Third Cinema”, Anthony R. Guneratne, Wimal Dissanayake (ed.), Rethinking Third Cinema, Routledge, NY. Guneratne, Anthony R., Wimal Dissanayake (2003), Rethinking Third Cinema, Routledge, NY. Gutierrez, Maria Alejandra (2003), “Bountiful Rebound of Argentine Cinema”, Americas. Hobsbawm, Eric, J. (1997), Eşkıyalar, Çev: Orhan Akalın, Necdet Hasgül, Avesta, stanbul. Hobsbawm, Eric, J. (1996), Kısa 20. Yüzyıl 1914-1991: Aşırılıklar Çağı, Çev: Yavuz Alogan, Sarmal, stanbul. Ibanez, Juan Carlos, Manuel Palacio (2003), “Los Olvidados”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Higginbotham, Virginia (2005), “Fast Frames: Insights into Mexican, Latin American and Brazilian Cinema”, Latin American Research Review, Vol.40, No.3. Hind, Emily (2003), “Post-Nafta Mexican Cinema, 1998-2002”, Studies in Latin American Popular Culture, 2003, Vol.23. Hoefert, Teresa (2004), “The International Politics of Cinematic Coproduction: Spanish Policy in Latin America”, Film & History, Vol.34.2. Johnson, Randal (1989), “The Nova Republica and the Crisis in Brazilian Cinema”, Latin American Research Review, Vol.24, No.1. 197 Johnson, Randal (2005), “Tv Globo, the MPA and Contemporary Brazilian Cinema”, Lisa Shaw, Stephanie Dennison (ed.), (2005), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Kapiszewski, Diana (ed.) (2002), Encyclopedia of Latin American Politics, Oryx Press, Londra. Karpat, Kemal (2003), Türkiye’de Toplumsal Dönüşüm: Kırsal Göç, Gecekondu ve Kentleşme, Çev: Abdülkerim Sönmez, mge, Ankara. Kaufman, Anthony (1998), “Sentimental Journey as National Allegory: An Interview with Walter Salles”, Cineaste, 12/15/98, Vol. 24 Issue 1. Keleş, Ruşen (2004), Kentleşme Politikası, mge, Ankara. Kriogor, Clara (2003), “La Historia Official”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Kürkçigil, Masis, (der.) (2004), Latin Amerika’nın Kaynayan Damarları, thaki, stanbul. Lopez, Ana (2000), “Early Cinema and Modernity in Latin America”, Cinema Journal 40, No.1, Fall 2000. MacBean, James Roy (2006), Sinema ve Devrim, çev: Ertan Yılmaz, Kabalcı, stanbul. Maciel, David R. (1990), “The cinema of Mexico”, Studies in Latin American Popular Culture, 1990, Vol. 9. Marquez, Gabriel Garcia (1996), Şili'de Gizlice: (Miguel Littin'in Serüveni), Çev: lknur Özdemir, Can, stanbul. 198 Mayer, Vicki (1998), “For the people and by the people: TV Maxambomba's Regeneration of Popular Cinema”, Studies in Latin American Popular Culture, Vol. 17. Mestman, Mariano (2003), “La Hora de los Hornos”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Moises, Jose Alvaro (2003), “A New Policy for Brazilian Cinema”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. Monaco, James (2001), Bir Film Nasıl Okunur? Sinema Dili, Tarihi ve Kuramı, Çev: Ertan Yılmaz, Oğlak, stanbul. Mowitt, John (1998), “Guelwaar: Politicizing the Aesthetics of Hunger”, Edebiyat, Vol.8. Nagip, Lucia (ed.) (2003), The New Brazilian Cinema, I. B. Taurus, Londra. Nowel-Smith, Geoffrey (ed.) (2003), Dünya Sinema Tarihi, Çev: Ahmet Fethi, Kabalcı, stanbul. Onaran, Alim Şerif (1986), Sinemaya Giriş, Filiz, stanbul. O'Neil, Brian (1998), “Yankee invasion of Mexico, or Mexican invasion of Hollywood? Hollywood's renewed Spanish-Language Production Of 1938-1939”, Studies in Latin American Popular Culture, 1998, Vol. 17. Oricchio, Luiz Zanin (2003), “The Sertao in the Brazilian Imagenary at the End of the Millennium”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. 199 Ortega, Maria Luisa (2003), “La Batalla de Chile”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. Özbudun, Sibel (2003), Kültür Halleri: Geçmişte, Ötelerde, Günümüzde, Ütopya, Ankara. Petras, James (2005), Sağ Sol Kutuplaşması: Latin Amerika ve Emperyalizm, Çev: Emel Çoşkun, Mephisto, stanbul. Ramos, Fernao Pessoa (2003), “Humility, Guilt and Narcissism Turned Inside out in Brazil’s Film Revival”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. Rangil, Viviana (2001), “Changing the Face of Argentinian Cinema: The Vibrant Voices of Four Woman”, Afterimage; May/Jun2001, Vol. 28 Issue 6. Rego, Cacilda M. (1991), “Cinema Novo and the Question of the Popular”, Studies in Latin American Popular Culture, 1991, Vol. 10. Rego, Cacilda M. (2005), “Brazilian Cinema: its fall, rise and renewal (1990-2003)”, Journal of Contemparary Film, 2005, Vol. 3, No.2. Richards, Keith (2005), “Born at Last? Cinema and Social Marginary in 21st Century Uruguay”, Lisa Shaw, Stephanie Dennison (ed.), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Rouquie, Alain (1986), Latin Amerika'da Askeri Devlet, Çev: Şirin Tekeli, Alan, stanbul. Ruffinelli, Jorge (2003), “La Nacion Clandestina”, Alberto Elena, Marina Díaz Lopez (ed.) The cinema of Latin America, Wallflower, Londra. 200 Salazar, Cristian (2003), “Cine a lo Chileno”, Hemisphere: A Magazine of the Americas; Spring 2003, Vol. 12. Salles, Walter (2003), “Preface”, Alberto Elena, Marina Díaz Lopez (ed.) The Cinema of Latin America, Wallflower, Londra. San Miguel, Holiodoro (2003), “Rio 40 Graus”, Alberto Elena, Marina Díaz Lopez (ed.) The Cinema of Latin America, Wallflower, Londra. Shaw, Deborah (2003), Contemporary Cinema of Latin America: 10 Key Films, Continuum, NY. Shaw, Lisa, Stephanie Dennison (ed.) (2005), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Shaw, Lisa, Stephanie Dennison (2005), “Introduction: Reflections on Modernity, Gender and Nation in the Latin American Context”, Lisa Shaw, Stephanie Dennison (ed.), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Schiff, Frederick (1993), “ Brazilian Film and Military Censorship: Cinema Novo, 1964-1974”, Historical Journal of Film, Radio & Television, 1993, Vol. 13 Issue.4. Shohat, Ella (2003), “Post-Third Worldist Culture: Gender, Nation and the Cinema”, Anthony R. Guneratne, Wimal Dissanayake (ed.), Rethinking Third Cinema, Routledge, NY. Simis, Anita (2002), “Movies and Moviemakers Under Vargas”, Latin American Perspectives, vol.29, no.1. 201 Smith, Paul Julian (2003), “Transatlatic Traffic in Recent Mexican Films”, Journal of Latin American Cultural Studies, Vol.12, No.3. Stam, Robert (2000), Film Theory: An Introduction, Blackwell, Cornwall. Stam, Robert (2003), “Beyond Third Cinema: The Aesthetics of Hybridity”, Anthony R. Guneratne, Wimal Dissanayake (ed.), Rethinking Third Cinema, Routledge, NY. Stollery, Martin (2002), “Another Look at Third Cinema”, Historical Journal of Film, Radio and Television, Vol.22, No.2. Taylor, Claire (2005), “Maria Luisa Bemberg Winks at the Audience: Performativity and Citation in Camila and Yo le Peor de Todas”, Lisa Shaw, Stephanie Dennison (ed.), Latin American Cinema: Essays on Modernity, Gender and National Identity, McFarland&Company, Londra. Tunon, Julia (1993), “Between the nation and utopia: The image of Mexico in the films of Emilio `Indio' Fernandez”, Studies in Latin American Popular Culture, 1993, Vol. 12. Tunon, Julia (2003), “Maria Candelaria”, Alberto Elena, Marina Díaz Lopez (ed.) The Cinema of Latin America, Wallflower, Londra. Viejo, Breixo (2003), “O Cangaceiro”, Alberto Elena, Marina Díaz Lopez (ed.) The Cinema of Latin America, Wallflower, Londra. West, Dennis (2001), “The Buenos Aires Film Festival And The Renissance of Argentine Cinema”, Cineaste, Winter, 2001. Wright, Thomas J. (2001), “Legacy of Dictatorship: Works on Chilean Diaspora”, Univesity of Neveda Review Essays, Las Vegas. 202 Xavier, Ismael (1997a), Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema, University of Minnesota Press, Minneapolis. Xavier, Ismael (1997b), “The Humilation of Father: Melodrama and Cinema Novo’s Critique of Conservative Modernization”, Screen, Winter 1997. Xavier, Ismael (2003), “Brazilian Cinema in the 1990s: The Unexpected Encounter and the Resentful Character”, Lucia Nagip (ed.), The New Brazilian Cinema, I. B. Taurus, Londra. Zarakolu, Ragıp (der.) (1985), Latin Amerika’da Militarizm, Devlet ve Demokrasi Dosyası, Alan, stanbul. 203 ÖZET Latin Amerika sineması, dünya sinema tarihi açısından önem arz etmektedir. Bu önemin kökenleri 1960’larda oluşmaya başlayan muhalif sinema hareketlerinden kaynaklanmaktadır. 1960’lar sinemada politik radikalleşmenin en üst seviyeye çıktığı dönemdir. Politik düzene bağımlı olarak son bulan muhalif sinema hareketlerinin ardından 1995’den sonra Latin Amerika’da yeni bir sinemaya oluşmaya başlamıştır. Bu yeni sinemanın sinema hareketleri ile bağlantıları ve farklılıkları bulunmaktadır. Latin Amerika sineması toplumsal bir sinemadır. Sömürgeci geçmiş, melezlik, azgelişmişlik, gecekondulaşma, gerilla mücadeleleri, diktatörlükler ve toplumsal baskılar gibi toplumsal hayatı etkileyen faktörler sinemanın yönünü çizmesini sağlamıştır. Toplumsal dinamikler hem üretim açısından etkili olurken, diğer yandan sinema tematik kaynağını toplumun bu çeşitliliğinden alır. Sinema üretiminin önündeki en önemli belirleyici devletler olmuş ve devletlerin sinemaya müdahalesini azalttığı zamanlarda alternatif sinema hareketleri oluşabilmiştir. ‘Üçüncü sinema” Latin Amerika kaynaklı bir terimdir. Bu terimi bulan Fernando Solanas ve Octavio Getino’ya göre “birinci sinema” ticari, “ikinci sinema” kişisel sinemadır. “Üçüncü sinema” ise politik sinema olmalıdır. Sinemanın halkı etkileme yetisi vardır ve bunu halkı aydınlatmak ve harekete geçirmek için kullanmalıdır. Latin Amerika’da 1960’lardaki muhalif sinema hareketlerinin hepsi “üçüncü sinema” kavramının içine sokulur. Günümüz sineması ise tematik olarak 1960’larla benzerlikler barındırmasına rağmen “üçüncü sinema”nın devamı niteliğinde değildir. 204 ABSTRACT The cinema of Latin America is important for the history of world cinema. The origins of this importance are coming from the opposing cinema movements of 1960s. 1960s were the peak point of political radicalism in cinema. After the ending of opposing cinema movements by the force of politics, there is a new cinema starting to establish after the year 1995. There are lots of similarities and differences of this new cinema and the historical cinema movements. The cinema of Latin America is a social cinema. The facts affect society like, colonialism, hybridism, underdevelopment, guerilla movements, dictatorships and societal pressure also make cinema to choose its path. These facts are important for production and also the cinema takes its subject from its society. States are the first determining factor in film production and alternative cinema movements may establish in the times when the state involvement decrease. “Third cinema” is a term coming from Latin America. For Fernando Solanas and Octavio Getino “first cinema” is commercial, “second cinema” is personal and “third cinema” must be political. Cinema has the power of influencing people and has to use this power for enlightening people. All of the opposing cinema movements of 1960s can be situated in “third cinema”. However, the cinema of today is not the continuation of “third cinema”. Yüklə 4,8 Kb. Dostları ilə paylaş:
|