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  Blog 10 Two Faces of Babel According to the story, a united human race in the generations following the  Great Flood , speaking a single language and migrating eastward, comes to the land of  Shinar  ( שִׁנְעָר ‎). There they agree to build a city and a tower tall enough to reach heaven. God, observing their city and tower, confounds their speech so that they can no longer understand each other, and scatters them around the world. ( https://en.wikipedia.org/wiki/Tower_of_Babel ) Babel (2006) is a movie directed by Alejandro González Iñárritu which has something to say about the colonialism, globalization and race. Stem and Spence are defining colonialism as: “ By colonialism, we refer to the process by which the European powers (including the United States) reached a position of economic, military, political and cultural domination in much of Asia, Africa and Latin America.” (p.753) They are focusing on how cinema deals or cannot deal with these issues. I want...
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 Blog 9 All about Scottie: Vertigo    It is a fact that, the patriarchal way of telling the story is dominated the Hollywood tradition of filmmaking for years. Mulvey says: “Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order. In the highly developed Hollywood cinema it was only through these codes that the alienated subject, torn in his imaginary memory by a sense of loss, by the terror of potential lack in phantasy, came near to finding a glimpse of satisfaction: through its formal beauty and its play on his own formative obsessions.”(p.713) In Vertigo (1958) a movie directed by Alfred Hitchcock; we are seeing these male-centered codes a lot. But how the movie deals with these codes and what are the women place in the narrative of the movie?                  First, our protagonist is a ex policeman named Scottie. We are witnessing the story from hi...
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    Blog 8      Lost Audience   Lost Highway (1997) is one of the David Lynch movies that is not easy to watch. We can say that the “struggle and confusion” audience experience, generally derives from the narrative of the movie. David Lynch chooses to tell the story in a mixing way. He is building the story then he crushes it and let audience reunite the puzzles of the narrative. We know that the linear narratives are easy to follow for the audience because the audience’s perception about the events or the characters stays clear and the story moves in a cumulative way. Metz mentions that, we as an audience, are tend to put ourselves into the characters’ place while we are watching the film similarly with the mirror stages of children: “…there is one thing and one thing only that is never reflected in it: the spectator’s own body. In a certain emplacement, the mirror suddenly becomes clear glass.”, “the spectator knows that objects exist, that he himself...
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 Blog 7         The Blair Witch Project and Reality                  The Blair Witch Project (1999) is a documentary-like horror movie filmed with handheld camera. The story goes around three young people and their travel to the woods to find some information about the Blair Witch legend. My first shock about the movie was how could they achieve to create such a scary movie without using any monstrous or scary images of the witch. And the other interesting thing is how the movie succeeded to be seemed so real. The difference between reality and the camera reality is one of the good points the movie deals with. Bazin mentions human beings long lasting desire to prevent things from the death:” Thus, by providing a defense against the passage of time it satisfied a basic psychological need in man, for death is but the victory of time. To preserve, artificially, his bodily appearance is to snatch it from th...
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 Blog 6           Film Noir Effects on Touch of Evil             Touch of Evil (1958) is a movie directed by Orson Welles which includes a lot of Film Noir techniques. The story is about a newly married Mexican detective lives in a town next to the America- Mexico border. The story mostly focuses on Vargas and his wife Susie, their fight against Mexican criminals and corrupted American cops. I want to analyze the movie with respect to the Film Noir perspective and its contribution to the narrative. Paul Schrader defining Film Noir as: “In general, film noir refers to those Hollywood films of the forties and early fifties that portrayed the world of dark, slick city streets, crime and corruption.” (p.582) When we look at Touch of Evil , we see most of these elements. First of all, the movie includes mostly night scenes and it creates a dark environment. Paul Schrader says that this is one of the stylistics of Fi...
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  Blog 5 The Success of The Battle of Algiers                “Third cinema is, in our opinion, the cinema that recognizes in that struggle the most gigantic cultural , scientific, and artistic manifestation of our time , the great possibility of constructing a liberated personality with each people as the starting point -- in a word, the decolonization of culture .” (p.1) I think The Battle of Algiers is successful movie on reflecting the reality of the times of conflict. Its success is underlying in many different aspects. First, we are seeing the events from Ali’s perspective. We understand how he decided to join the FNL and we are pursuing him during his journey. However, the main character of the movie is the people of the Algiers rather than Ali. His eyes are turns into the eyes of his people. During the movie, we are seeing an incredible number of people from Algiers: The children, the young and the old.   Last scene of t...
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  Blog 4 Kieslowski as an Auteur             Why we call a director an auteur? What are the qualities we examine while considering a director as an auteur or not? These questions are discussed for many years and a lot of thing written on this subject. Wollen says: “ The auteur theory does not limit itself to acclaiming the director as the main author of a film. It implies an operation of decipherment; it reveals authors where none had been seen before.” then he continues: “For years, the model of an author in the cinema was that of the European director, with open artistic aspirations and full control over his films. This model still lingers on; it lies behind the existential distinction between art films and popular films.”(p.456) I want to write about a director whose situations are is fitting the   Wollen’s statements as   a European and an auteur director: Krzysztof Kieslowski. If we talk about the auteur theory, we should look a...
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