Country in the East and West Claw

Nuri Bilge Ceylan puts the perspectives of Anatolia under pressure through the analysis of individuals' souls in the movie Winter Sleep (2014). He examines the “Western perspective” through the intellectuals (Aydın, Necla, and Levent) and the “religious and traditional perspective” of Anatolia through Imam Hamdi and Ismail. Ceylan gets individuals out of cultural and ideological codes and allows them to confront their own realities in Anatolian geography. This possibility can be expressed as a kind of Foucauldian violence. There is a violence of going into the deeper layers of the repressed, unresolved points. This is an inner violence that comes from stripping all code and layers. This internal violence is the result of the soul analysis that is reflected in Anatolia as a camera of people awakening in Winter Sleep. The immediacy of Anatolia's vital existence can only be grasped in the depths of vital experience itself.

Underground diversity: Uropodina mites (Acari: Mesostigmata) from European badger (Meles meles) nests

Badgers can gather huge quantities of organic material to build their nests for winter time and to rear their cubs. Moreover, badger burrows (setts) are characterized by specific microclimate with quite stable temperature and humidity. Their fauna is poorly studied, especially in respect of saprobiontic Uropodina mites. In 2018–2019, we monitored 94 badger setts to search for nest material that had been thrown away during cleaning of the chambers after mating and winter sleep. In the collected material from 32 badger nests, we found 413 Uropodina mites of 16 species, in various stages of development (adults, protonymphs, and deutonymphs). The community was dominated by three mite species: Trematura patavina (22.5%, n = 93), Oodinychus ovalis (17.2%, n = 71), and Olodiscus minima (15.5%, n = 64). Other nidicolous—i.e., nest-dwelling—species included: Nenteria oudemansi (14.8%, n = 61), Phaulodiaspis borealis (7.0%, n = 29), Phaulodiaspis rackei (4.6%, n = 19), Uroseius hunzikeri (1.7%, n = 7), Uropoda orbicularis (1.5%, n = 6), and Apionoseius infirmus (1.0%, n = 4). The most frequent species were: Oodinychus ovalis (62.5%, 20 nests), N. oudemansi (46.9%, 15 nests), and Olodiscus minima (40.6%, 13 nests). Detrended correspondence analysis indicated that the Uropodina community from badger nests differed from that of mole nests, studied earlier. In setts, the Uropodina community included T. patavina and N. oudemansi, which were for the first time recorded from underground badger nests. This is the first record of N. oudemansi from Poland.

Total Cinema as Mode of Production

Chapter 10 examines Bazin’s ‘myth of total cinema’ in light of a major trend in recent world cinema to focus on monumental landscapes, in films by Byambsuren Davaa and Luigi Falorni (The Story of the Weeping Camel/ Ingen nulims, 2003), Abderrahmane Sissako (Timbuktu, 2014), Mikhail Zvyagintsev (Leviathan/Leviafan, 2014), Nuri Bilge Ceylan (Winter Sleep/ Kış uykusu, 2014), Cristina Gallego and Ciro Guerra (Birds of Passage/ Pájaros de verano, 2018), and Kleber Mendonça Filho and Juliano Dornelles (Bacurau, 2019). Taken together, these films testify to the remarkable convergence among filmmakers from the most disparate corners of the globe in resorting to expansive landscapes as a totalising cosmos and a sealed-off stage for the drama of existence, where realism manifests itself by means of real locations.

Presentation of Nuri Bilge Ceylan and his Cinema in the Turkish Media

Nuri Bilge Ceylan is the most famous Turkish film director with numerous international prizes. However, Ceylan’s presentation by the Turkish media is far from emphasizing his success, talent, creativity, style, technique, and cinematography. He often falls victim to undeserved and superficial criticism of “would be” critics who openly confess they did not watch Ceylan’s movies. He is sometimes portrayed as a political figure and critic of the present day Turkish politics and system. This article focuses on how two mainstream Turkish newspapers, columnists and microbloggers portrayed and reacted to Ceylan and his cinema after his film Winter Sleep won the top prize (the Golden Palm) at Cannes Film Festival in 2014 and the reasons behind this portrayal.

Women in the Cinema of Nuri Bilge Ceylan

This study in general examines the representation of women in Turkish cinema with a retrospective evaluation and tries to understand the present condition, specifically it examines the ways in which women were treated in the films of Nuri Bilge Ceylan, one of the most important directors of Turkish cinema in the recent period. The study focuses on Climate, Three Monkeys, Once Upon A Time in Anatolia and Winter Sleep named movies of Ceylan, and these movies were analysed with the qualitative content analysis method. According to the findings of the study, in his films Ceylan generally picks men as the main characters. In his own words, he finds men's world more complicated and fragmented and women are the secondary characters who are suppressed under patriarchal structure and male domination.

Ceylan's Winter Sleep: From Ambiguity to Nothingness

Nuri Bilge Ceylan is a puzzling filmmaker who started his career as a photographer and initially made films with a “photographic” spirit. But from his first films known as the Trilogy of Province to his award winning latest feature Winter Sleep, Ceylan has changed drastically. Once a modest artist refusing to give interviews, Ceylan has become a regular “red carpet” figure. So this essay will analyze Ceylan’s Winter Sleep from a critical theoretical perspective and try to underline the changes in his cinematography as well as philosophical orientations since his Trilogy of Province. The main points of argument will focus on his shift from an affirmative politics of “ambiguity” towards a dark postmodern “nothingness”.