Ozlem Koksal | University of Westminster (original) (raw)
Papers by Ozlem Koksal
Third Text, 2019
A Hand that Holds a Machete: Race and the Representation of the Displaced in Jacques Audiard's Dh... more A Hand that Holds a Machete: Race and the Representation of the Displaced in Jacques Audiard's Dheepan Koksal, O. and Rappas-Celik, I.A.
transcript Verlag eBooks, Dec 31, 2014
, as part of a course he taught in 2011. I would like to thank him for initiating the idea for th... more , as part of a course he taught in 2011. I would like to thank him for initiating the idea for the lecture, and for the discussions that took place prior to and during the lecture. I would also like to thank the organizers and the participants of the conference "Cool İstanbul: Urban Enclosures and Resistances." In particular, I thank İpek Türeli for her comments on an earlier version of this paper. İpek Ҫelik also read various versions of this text and provided me with comments and criticism for which I am grateful.
Continuum: Journal of Media and Cultural Studies, 2024
This article looks at the selected works by two artists, Kutlug Ataman and Cigdem Aydemir, whose ... more This article looks at the selected works by two artists, Kutlug Ataman and Cigdem Aydemir, whose works are tackling hair, with a particular commentary on veiled Muslim women in secular spaces. The article argues that the current discussions on the topic, as well as the artistic responses, are often shaped by the narrative that logic of coloniality produced, but rarely attempt to delink from this narrative to change the terms of the conversation – which is a decolonial praxis. The discussion contextualizes the works by unpacking the Turkish case, on which both artists comment, discussing the positioning of Muslim women in Western(ized) public spaces and the resulting dehumanizing hypervisibility. I argue that while Ataman makes an important intervention on the topic with, Aydemir goes further, rejecting dehumanizing classifications and delinking from the existing narrative.
From Fatih Akin's "Head-On" (2004) to Sydney Lumet's "Murder on the Orient... more From Fatih Akin's "Head-On" (2004) to Sydney Lumet's "Murder on the Orient Express" (1974), "World Film Locations: Istanbul" offers a compelling look at many films shot on location in this multicultural metropolis. Central to this volume are the film industry's changing representations of Istanbul. The book includes essays focusing on diverse subjects related to the city and its representation, exploring Istanbul's place in the imagination of audiences and filmmakers. Articles include an examination of the significance of Istanbul in the critically acclaimed director Nuri Bilge Ceylan's cinema, the city's representation in films made in the West and in Turkey in different periods, as well as articles focusing on key locations, such as the famous train station Haydarpasa and Beyoglu/Pera. With thirty-eight insightful short reviews the book includes illustrative screen-grabs from the films discussed and present day images of each location, offering a compelling picture of this historic and culturally stimulating city and its changing representation in cinema, as well as cinema's role in shaping our perception of the city.
Aesthetics of Displacement: Turkey and its Minorities on Screen, 2016
All rights reserved. No part of this publication may be reproduced or transmitted in any form or ... more All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission I have learnt a lot from them. I am also extremely grateful for the financial support I received from the London Consortium during my PhD. I am particularly indebted to my supervisor Prof. Laura Mulvey who, throughout the duration of my PhD, thought me a great deal. She not only encouraged me and guided me but also influenced my thinking greatly. I would also like to thank Prof. Deniz Kandiyoti, Prof. Asuman Suner and Prof. Chris Berry for their comments, criticisms and support at different stages of this project. Hamid Naficy and Daniela Berghahn, who examined the final thesis, have also provided encouragement and valuable comments, which I benefited while working on the manuscript. In 2012 the thesis was awarded the best dissertation award written on Turkey by the London School of Economics' Turkish Chair. I thank the award committee Şevket Pamuk, Deniz Kandiyoti and Hakan Seçkinelgin for giving me the final push to turn the dissertation into a manuscript. During the research and writing stages I have enjoyed the generosity of many people. I would particularly like to thank
Books by Ozlem Koksal
Third Text, 2019
A Hand that Holds a Machete: Race and the Representation of the Displaced in Jacques Audiard's Dh... more A Hand that Holds a Machete: Race and the Representation of the Displaced in Jacques Audiard's Dheepan Koksal, O. and Rappas-Celik, I.A.
transcript Verlag eBooks, Dec 31, 2014
, as part of a course he taught in 2011. I would like to thank him for initiating the idea for th... more , as part of a course he taught in 2011. I would like to thank him for initiating the idea for the lecture, and for the discussions that took place prior to and during the lecture. I would also like to thank the organizers and the participants of the conference "Cool İstanbul: Urban Enclosures and Resistances." In particular, I thank İpek Türeli for her comments on an earlier version of this paper. İpek Ҫelik also read various versions of this text and provided me with comments and criticism for which I am grateful.
Continuum: Journal of Media and Cultural Studies, 2024
This article looks at the selected works by two artists, Kutlug Ataman and Cigdem Aydemir, whose ... more This article looks at the selected works by two artists, Kutlug Ataman and Cigdem Aydemir, whose works are tackling hair, with a particular commentary on veiled Muslim women in secular spaces. The article argues that the current discussions on the topic, as well as the artistic responses, are often shaped by the narrative that logic of coloniality produced, but rarely attempt to delink from this narrative to change the terms of the conversation – which is a decolonial praxis. The discussion contextualizes the works by unpacking the Turkish case, on which both artists comment, discussing the positioning of Muslim women in Western(ized) public spaces and the resulting dehumanizing hypervisibility. I argue that while Ataman makes an important intervention on the topic with, Aydemir goes further, rejecting dehumanizing classifications and delinking from the existing narrative.
From Fatih Akin's "Head-On" (2004) to Sydney Lumet's "Murder on the Orient... more From Fatih Akin's "Head-On" (2004) to Sydney Lumet's "Murder on the Orient Express" (1974), "World Film Locations: Istanbul" offers a compelling look at many films shot on location in this multicultural metropolis. Central to this volume are the film industry's changing representations of Istanbul. The book includes essays focusing on diverse subjects related to the city and its representation, exploring Istanbul's place in the imagination of audiences and filmmakers. Articles include an examination of the significance of Istanbul in the critically acclaimed director Nuri Bilge Ceylan's cinema, the city's representation in films made in the West and in Turkey in different periods, as well as articles focusing on key locations, such as the famous train station Haydarpasa and Beyoglu/Pera. With thirty-eight insightful short reviews the book includes illustrative screen-grabs from the films discussed and present day images of each location, offering a compelling picture of this historic and culturally stimulating city and its changing representation in cinema, as well as cinema's role in shaping our perception of the city.
Aesthetics of Displacement: Turkey and its Minorities on Screen, 2016
All rights reserved. No part of this publication may be reproduced or transmitted in any form or ... more All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission I have learnt a lot from them. I am also extremely grateful for the financial support I received from the London Consortium during my PhD. I am particularly indebted to my supervisor Prof. Laura Mulvey who, throughout the duration of my PhD, thought me a great deal. She not only encouraged me and guided me but also influenced my thinking greatly. I would also like to thank Prof. Deniz Kandiyoti, Prof. Asuman Suner and Prof. Chris Berry for their comments, criticisms and support at different stages of this project. Hamid Naficy and Daniela Berghahn, who examined the final thesis, have also provided encouragement and valuable comments, which I benefited while working on the manuscript. In 2012 the thesis was awarded the best dissertation award written on Turkey by the London School of Economics' Turkish Chair. I thank the award committee Şevket Pamuk, Deniz Kandiyoti and Hakan Seçkinelgin for giving me the final push to turn the dissertation into a manuscript. During the research and writing stages I have enjoyed the generosity of many people. I would particularly like to thank