01. Araştırma Çıktıları | TR-Dizin | WoS | Scopus | PubMed

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Citation - Scopus: 2
Ahistorical Avant-Gardism and the Theater
(Springer, 2013) Cardullo, Robert J.
Critics and scholars have been debating the origins, definitions and continued validity of the avant-garde since the early twentieth century. Theoretical arguments have postulated the death of the avant-garde; to counter them, critical claims have cited the ever-present avant-garde tendencies in contemporary theater and art. Although the avant-garde has undergone radical shifts in the second half of the twentieth century, it remains a viable, practical concept in theater as it manifests a pervasive impulse to push aesthetic boundaries. To amend Mark Twain's famous adage, then, reports of the avant-garde's demise have been greatly exaggerated. Declarations of its death are founded on the presumption of an idyllic moment in history-the time of the historic Western avant-gardeaEuroin which socially, politically and aesthetically subversive theater stood diametrically opposed to mainstream culture. In fact, such an era might never have truly existed. Instead, if we see the avant-garde as an allowed fool, the embodiment of a subversive impulse that mainstream culture permits to exist on its edges, we can gauge the vitality of the avant-garde as a question of location rather than existence. The avant-garde never dies; it merely shifts its place from the extreme edge of the mainstream to a spectrum of slightly more respectable places within the mainstream. The avant-garde thus becomes a repeating phenomenon with a nonlinear life, which moves in cycles and is not limited to a single geographic region like Europe.
Appearance and Essence in Georg Kaiser's From Morn To Midnight
(Routledge Journals, Taylor & Francis Ltd, 2012) Cardullo, Robert J.
[Abstract Not Available]
Citation - WoS: 2
Citation - Scopus: 5
Art-House Cinema, Avant-Garde Film, and Dramatic Modernism
(Univ Illinois Press, 2011) Cardullo, Robert
[Abstract Not Available]
Citation - WoS: 3
Attention, Attention Must Finally Be Unpaid: Death of a Salesman and the Reputation of Arthur Miller
(Oxford Univ Press, 2011) Cardullo, Bert
This articles suggests that the divided impulse in Arthur Miller in Death of a Salesman, a division immediately noticeable in his choice of first names for his characters, between making his play and his protagonist Jewish, and making them universal or representatively American, was largely responsible for significant flaws in the drama that have hitherto mainly gone unremarked: uneven diction, thematic muzziness, unsure characterisation, historical myopia, and finally failed tragedy.
August Strindberg, Ingmar Bergman and the Ghost Sonata
(Foreningen Nordiska Teaterforskare, 2012) Cardullo, Robert
August Strindberg, Ingmar Bergman, and The Ghost Sonata This essay considers the best known of Strindberg's chamber works, The Ghost Sonata (1907), in light of a production of the play by Ingmar Bergman that took place in 1973 at the Royal Dramatic Theatre in Stockholm. Bergman stated the concept for his production of The Ghost Sonata as follows: In the end, I have stressed the fact that the only thing that can give man any kind of salvation-a secular one is the grace and compassion which come out of himself. In the process of thoroughly analyzing the whole of The Ghost Sonata, the author differs with Bergman and in particular with his interpretation of the third scene of the play, where he equates the Student's nihilistic despair with the loss of faith in God. On the contrary, the author contends, it is the Student's faith in a benevolent God that is a logical outgrowth of his experiences during the play. Instead of looking to Christ for relief from his unhappy existence, however, the Student redefines Christian salvation in his own terms. At the centre, he places, not salvation through Christ in this lift, but salvation in Heaven through death. Bergman correctly argued for secular salvation through human compassion in his production of The Ghost Sonata, but he removed a large source of the play's power and fascination by denying the Student's conclusion that there can be no ultimate salvation in this life, that such salvation is possible only in Heaven.
Citation - WoS: 1
The Avant-Garde and the Unamerican: Experimental Theatre and Drama From Europe To the United States After World War Ii
(Intellect Ltd, 2013) Cardullo, Robert
Since the inception of the absurd, avant-garde drama has continued to be written. Yet in the late 1960s we entered the era of postmodernism, in which two events inhibited the advance of the avant-garde. The first is the embrace by postmodern playwrights of a stylistic pluralism, an eclectic and often self-reflexive mixing of different styles from different periods. The second was, and is, the postmodern deification of 'performance' through the merging of author and director in a single 'superstar' and through the breaking down of boundaries between dramatic forms and performance styles, between styles and periods and between the arts themselves. Struggling within the confines of a self-reflexive, formal orientation and against an ill-defined social context of liberal and diffusive pluralism, the American avant-garde has attempted to display a creative and critical vitality, but has raised only minimal expectations. It countenances an active and often aggressive assertion of individual will, yet betrays an uneasy acquiescence and resignation. Its most significant efforts continue to involve the self-conscious exploration of the nature, limits and possibilities of drama and theatre in contemporary society, but the vision of the future provided by such work is tentative and unclear, as if the avant-garde dare not move beyond doubt and distrust towards an inspired vision.
Bernard Shaw, the Philanderer, and the (un)making of Shavian Drama
(Springer, 2012) Cardullo, Robert J.
Bernard Shaw, The Philanderer, and the Making of Shavian Drama is an essay that considers this early play by Shaw in the context of the popular theater of the time, and bases its appreciation or advocacy on The Philanderer's honesty in exploring human relationships-a characteristic that disappears from Shaw's oeuvre as his various philosophies ossify into orthodoxy. The first section supplies historical and background information; the second section summarizes and comments on The Philanderer's action, scene by scene; and the third section analyzes Shaw's interest in this play in the dramatic confrontation between realists and idealists, before offering some final parting comments. In sum, the author attempts to reevaluate The Philanderer and to try to understand why it has been neglected, how Shaw himself may have contributed to its neglect, and why, in some ways, this drama may not only be better than it has long been thought to be, but may also be better even than the plays by which Shaw is best known (e.g., Major Barbara, Saint Joan, Heartbreak House).
Bertolt Brecht: the Naturalist, the Theatricalist, and the Dramatist-As [2011]
(Germanic Notes & Reviews, 2011) Cardullo, Robert J.
[Abstract Not Available]
Citation - WoS: 1
Citation - Scopus: 1
Bertolt Brecht: the Naturalist, the Theatricalist, and the Dramatist-As [2013]
(Springer, 2013) Cardullo, Robert J.
There are many things about Brecht and his artistic achievement that are either unaccepted, unknown, misunderstood, or disputed by a majority of people, including those who already possess firm ideas about his character, his worth, and his politics. Despite this fact, as well as because of it, he has achieved the status of classic artist, in the process becoming an academic staple: university professors lecture on him because he must be covered, even if they do not appreciate his artistic accomplishments. At the same time, Brecht's innovations in dramatic form and theatrical style have become clich,s: indeed, he has already been rejected by many theater people who hastened to copy those innovations without understanding them. Given his recent dismissals by both the academic and the commercial theater worlds, then, Brecht is in danger of becoming a legend without ever having been thoroughly known. But it remains true that knowing him thoroughly is very difficult-and altogether necessary. The purpose of this essay is to facilitate the knowing of his dramatic oeuvre through an investigation of it not only in the context of Brecht's own dramatic theory, but also in the context of the history of drama; through a consideration of his dramatic work, as well as his directing style, from the point of view of its naturalism versus its theatricalism, its obeisance to tradition and its devotion to experimentation; and through a discussion of acting for Brecht's theater. In the end, Brecht was dedicated to transforming the theater into something that would entertain by asking us to exercise our critical intelligence, rather than something that would divert by making us forget the world. This essay concludes by asking whether this kind of theater-epic theater-continues to exist now.
Citation - WoS: 1
Citation - Scopus: 1
Borrowed Soundtracks: Adopting the Global History Approach To the Study of Connectedness in Film History
(Routledge journals, taylor & francis ltd, 2024) Savk, Serkan
In this article, my goal is to reveal the importance and potential of global history, an approach that is generally neglected in media and film history literature. The main characteristics of global history are de-centralizing history, taking a wide spatial and temporal perspective, avoiding Eurocentric and nationalist optics, and explaining patterns of causalities behind connections. I begin by explaining global history before presenting the differences between global history and similar approaches used in film and media studies literature. Then, I focus on a potential case study, the phenomenon of foreign music used as soundtracks in Turkish domestic films between the 1950s and the 1980s. I demonstrate how the 'borrowed soundtracks' creates a hitherto unstudied connectedness between disconnected audiences from different countries or societies. I consider the soundscapes of the films as a space of aural encounter, and I argue that global history would enable us to understand the emotional, cultural, and economic layers of this indirect connectedness.
Citation - WoS: 3
Citation - Scopus: 3
Cinema as 'social Documentary': the Film Theory of Andre Bazin, Revisited (vol 13, Pg 33, 2013)
(Routledge Journals, Taylor & Francis Ltd, 2013) Cardullo, Robert J.
[Abstract Not Available]
Citation - WoS: 1
The Cinema of Resistance: an Interview With Jean-Pierre and Luc Dardenne
(Routledge Journals, Taylor & Francis Ltd, 2010) Cardullo, Bert
Naturalistically shot, impeccably constructed, uncompromising and emotionally searing, the Dardenne brothers' films give voice to a population often despised or ignored: illegal aliens, slumlords, corrupt officials and small-time criminals. To their characters the brothers bring a compassionate view born of the understanding that this under-class has, in part, been created by society's higher-ups. These are figures of limited material and social means who, under the most dire circumstances, must grapple with life-and-death decisions. And though the pair might deny it, their films also suggest an ingrained Christian vision through insisting on the transformative possibility of the most debased being. Le Silence de Lorna, their latest portrait, which premiered at Cannes, failed to elicit the rapturous response received by some of the earlier work, such as the 2005 Palme d'Or winner L'Enfant/The Child. Yet despite an exposition that some found lengthy, the Dardennes bring great resonance to this fable of a young Albanian immigrant caught in a terrible dilemma who struggles to redeem herself. As in 1996's La Promesse, the film focuses on the machinations forced on illegals hoping to grab a morsel of the world's wealth - in this case through fake marriages for citizenship. But this time the brothers have placed their camera in the more gentrified city of Liege, rather than their grimy industrial hometown of Seraing. I caught up with the Dardennes at the 'Cannes Film Festival' in May 2009, where Le Silence de Lorna won the award for best screenplay, and had the following conversation with them about the totality of their film work.
Citation - WoS: 1
The Cinema of Resistance: an Interview With Jeanpierre and Luc Dardenne
(Intellect Ltd, 2009) Cardullo, Bert
[Abstract Not Available]
Citation - WoS: 1
Citation - Scopus: 3
A Cinema of Social Conscience: an Interview With Ken Loach
(Duke Univ Press, 2011) Cardullo, Robert
[Abstract Not Available]
Citation - WoS: 10
Citation - Scopus: 16
Cinema-Going During the Gezi Protests: Claiming the Right To the Emek Movie Theatre and Gezi Park
(Routledge Journals, Taylor & Francis Ltd, 2018) Ozduzen, Ozge
This paper explores the relationship between social movements, urban regeneration programmes and media outlets in cities, with a focus on the transformation of urban culture in regards to people's engagement with the spaces of media platforms. The argument is based on the study of cinema-going practices of an audience community in Istanbul, during and preceding the Gezi uprising. By employing ethnographic methods, this paper interrogates the activism of an audience community against the impact of shopping-mallisation and commodification of Istanbul's urban spaces under AKP rule. In order to reclaim ownership of their spaces and future, this audience community claimed their right to the Emek movie theatre, Gezi Park and other parks whilst creating their own outdoor screenings and social media platforms. This paper also provides an interpretation of social movement development attached to media outlets such as film festivals and screenings, particularly the development of spatial activism in relation to people's use of films, streets and movie theatres, thus illustrating, challenging and reinforcing rights to the city. More broadly, it gives new insights on the film and protest culture of a 'secular' group within a predominantly Muslim population and shows alternative and creative methods of protesting during a popular uprising.
Club Med Foça: the Transformation of Leisure Culture in Turkey
(2020) Şavk, Serkan; Özgün, Aras
In this paper, we trace the transformation of leisure culture and emergence of tourism as a form of life-style consumption in Turkey by analyzing the representation of Club Med Foça, in Turkish media between 1967 and 2005, during the Club’s active period in which it served as a catalyst for such cultural transformation. We deploy Critical Discourse Analysis as a methodological framework for this purpose, and examine a variety of historical resources including popular magazines, news pieces, feature films, postcards, official documents and a photo-romance series for analyzing the representational contexts involving Club Med Foça. Our analysis shows that leisure culture and life-style consumption in Turkey has emerged between the tension of national identity and westernization, yet, at a later stage of the country’s modernization process, the main axis of tension shifted from an ambivalent relation of Turkish national identity with its western other to an ambivalent relation between the social classes in Turkey.
Club Med Foça: Türkiye’de Dinlence Kültürünün Dönüşümü
(2020) Savk, Serkan; Ozgun, Aras
Bu makalede, Türkiye’nin Ege kıyısında metruk bir tatil köyü durumunda olan Club Med Foça’nın, 1967-2005 arasındaki hizmet süresi boyunca, dinlence kültürünün Türkiye’deki gelişimini katalize eden kültürel, ekonomik ve politik bir varlık olarak Türk medyasında nasıl temsil edildiğinin izini sürüyoruz. Bu amaca yönelik olarak popüler dergiler, gazete haberleri, sinema filmleri, kartpostallar, resmî belgeler, ve bir foto-roman dizisi de dahil olmak üzere çeşitli tarihsel kaynaklardan yararlanıyoruz. Söz konusu kaynaklarda, Club Med Foça’nın temsil edildiği bağlamları analiz etmek üzere Eleştirel Söylem Analizi’ne başvuruyoruz. Club Med Foça’yı çevreleyen diğer temsil bağlamlarının dönüşümünü inceleyerek, Türkiye’de dinlence kültürü ve yaşam tarzı tüketiminin ulusal kimlik-batılılaşma ve küreselleşme geriliminde nasıl geliştiğini tartışıyoruz. Sonuç olarak, söz konusu temsil rejimlerinin, ülkenin modernleşmesinin bir parçası olmak üzere Türkiye’de dinlence kültürünün benimsenmesiyle paralel işlediğini, gerilimin Türk ulusal kimliğiyle onun batılı ötekisi arasındaki ikircikli bir eksenden, Türkiye’de farklı toplumsal sınıflar arasındaki bir başka ikircikli eksene kaydığını iddia ediyoruz.
Day of Wrath, the Spirit of Tragedy, and the Judgment of the Creator
(Univ East Anglia, 2011) Cardullo, Robert
Critics often speak of Carl Theodor Dreyer's treatment of religious themes, his sense of history, and his austere style, but few recognize any tragic intentions on his part. The director himself, however, writes that in the films The Passion of Joan of Arc, Vampire, Day of Wrath, and The Word, he 'ended up with a [...] form which [...] has characteristics in common with that of tragedy'. Using a model based on that of classical Aristotelian tragedy, this essay attempts a detailed consideration, from a dramatic as well as a cinematic point of view, of the tragic aspects of Dreyer's film Day of Wrath (1943), whose script is adapted from the 1909 theatrical melodrama Anne Pedersdotter.
Citation - WoS: 1
Citation - Scopus: 2
Death Wish, Child's Whim, Auteurist Will: Boyer and Clement's Forbidden Games Replayed
(Salisbury State Univ, 2011) Cardullo, Robert J.
[Abstract Not Available]
The Delay of Polonius in Shakespeare's Hamlet
(Routledge Journals, Taylor & Francis Ltd, 2012) Cardullo, Robert
In a play built on Hamlet's hesitation or delay, it should come as no surprise that Polonius's own long-winded delaying finds a home. In fact, Polonius's delay is intricately wound up with Hamlet's in the play. Polonius may provide us with comic relief in Hamlet, but it is not of the gratuitous kind. Rather it is structurally necessary: his comic delay places Hamlet's own tragic delay or hesitation in perspective; and it leads, in the turning point of the drama-the closet scene-to the stunning, fateful meeting of both delaying forces. This essay considers each of Polonius's delays in Hamlet in detail and attempts to relate them to the larger action, and meaning, of Shakespeare's drama.

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