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- PublicationOpen AccessZamansız Bir Görsel Kültür Ürünü Olarak Kaybedenler Kulübü(The Turkish Online Journal of Design Art and Communication, 2012-04) Yaşartürk, Gül; TR199395The movie Kaybedenler Kulübü can be seen as an ordinary period film. Although the film takes place in the mid 1990's, it often has no periodic indicator or any expression pertaining to the period. Here, it is possible to say that the film has no borders between time and space. Although the events in the film take place in the 1990's, the audience, not having any idea about the film’s subject or the characters, can easily think that the events occur today due to the visual structure of the film. This choice may be considered as a tribute to the past, or can also be seen as an effort to bring the past forth into the present; to revive the past. Precisely within the framework of the unnoticed efforts, the real characters have began began to make the same program again, but not surprisingly, it does not meet sufficient interest. Because it is obvious that, the radio program is a periodic product. The said effort to revive the book of Baudrillard and Simulation Simulakrlar Ramses finds an optimistic reflection within the text entitled The Story of the Resurrection. After its removal from the tomb, the mummy of Ramses II decays throwing the researchers into great despair. Furthermore, the film does not establish the basis and conjuncture of radio programs' being popular in the 1990's and completely degrades itself into a product of “visual culture”. Usage of different framing to divide the screen and excessive usage of music to support the film results in its being solely consisting of form. In the film, it is possible to see neither the answer to the question “Why are these people losers?”, nor the connection between being a loser and the 1990's. Instead, Kaybedenler Kulübü builds its world upon the solitude of the characters and the discourse of the conservative world of men's fraternity.
- PublicationOpen AccessWhen Opinion Leaders Tweet: Framing Analysis Of Kuwaiti Parliament Members’ Tweets(The Turkish Online Journal of Design Art and Communication, 2012-04) Salem, Fatima AlThis research investigated Kuwaiti parliament members’ leadership behavior on Twitter by applying Bolman and Deal’s (1984) leadership theory of framing. The study classified parliament members according to their political party affiliation-Islamists, independents, liberals, and populists party- and investigated the prevalence of four leadership frames through a content analysis of eight parliament members’ messages on Twitter over a period of six months from June 15, 2011 to November 15, 2011. Results showed that, overall, the structural frame was the most commonly used frame among parliament members, followed by the political, symbolic, and human resource frame respectively. The use of frames depended on both the political group and the topic of issues. The Islamist group, liberal and populist party more often used the structural frame in their Twitter messages whereas the independent group more often used the political frame.
- PublicationOpen AccessVisual Effects Cinematography The Cinematographer’s Filmic Techique From Traditional To Digital Era(The Turkish Online Journal of Design Art and Communication, 2012-04) Eldin, Nawal Mohamed SalahSpecial effects cinematography is as old as cinema itself. The cinematographer had a major role in making the special effects scene either by making the whole effect in camera or combined with the optical effects in laboratory after shooting. A question pops up after the digital revolution: Does the cinematographer have the same role as before? Is there a need to adopt new techniques to master the cinematographer work in the digital era? This paper attempts to explore the differences between the conventional and the digital visual effects from the cinematographer’s technical point of view, based on a comparative study. Before the digital era most of the effects were done by the camera or in the laboratory. Nowadays, however, there are new tools and techniques such as digital visual effects that overruled the cinema industry, sometimes the only live-action elements are the actors. The term CGI (Computer Generated Images) is currently well known to many people and filming is only the first step to be followed by many other procedures. The mentioned procedures are called post production, which is the region where most of the visual effects creation takes place.
- PublicationOpen AccessVisual Culture: Antenna And Roots(The Turkish Online Journal of Design Art and Communication, 2012-04) Wanner, Maria Celeste de Almeida; Ornellas, Valter Luis DantasThe gap between the digital era in undeveloped places, in the 21st century, is an important issue to be discussed. Based in the research called Antenna and Roots, developed at the Fine Art School at the Federal University of Bahia, Brazil, called Antenna and Roots, this paper proposes a dialogue between Visual Culture and contemporary visual languages, creative process, its methodology, and how the students are encourage to investigate with low tech equipments, certain that what makes a good art work is not only the equipment, but how an artist approaches material, equipments, etc., in order to materialize ideas, along the knowledge and understand about the world they live, without illustrating theories.
- PublicationOpen AccessUnderstanding The “Hybrid” Media In Design Education(The Turkish Online Journal of Design Art and Communication, 2012-04) Atiker, Barış; TR19469The digital transformation of moving images in the last 30 years has resulted with revolutionary impact on art and design fields. The increasing use of digital technologies for creating design and artwork with moving images has united many disciplines such as graphic design, photography, painting, cinematography, animation, three-dimensional visualization and typography, so that the moving image is no longer pure. According to Manovich, the combination of different disciplines within moving image has created a “hybrid” media where the different image layers are interacting with each other and this interaction is not only in the slight transition between different image layers, but also the transition between the production techniques and conceptual representations of them. The shifting from real to hybrid images provides many opportunities for creative solutions, but then the designer becomes more dependent on digital technologies. However the “hybrid” media and visual language should keep evolving and transforming as a combination of different disciplines, so that the design education perspective should move from software-based education to the new visual aesthetics. Thereby the creative solutions offered by the software will turn into new challenges and design experiences. This paper aims to explore the understanding of “hybrid” media’s visual language in design education through the frame of basic and new design principles.