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TOP 10 OLDER WOMAN - YOUNGER MAN ROMANCE MOVİES

Controversial lovemaking scene, sex scene that came to the agenda, erotic movie scenes that came to the agenda of the media

examples of sexism about projects. sex scene

Erotic film is one of the genres of cinematography. Unlike pornographic films, most of the characters' bodies are not shown here. As with pornographic films, people over the age of 18 are allowed to watch this genre.[1] Most of the USA and European countries make films in this style.

Hardcore pornography emerged in the second half of the 20th century; A movement that advocates unconditional censorship in sexually explicit films and images. The current has spread especially in the United States and England. An entertainment industry developed under the influence of this movement.

Development and legal status

Porn movie set

20. It is a style developed against softcore pornography since the second half of the century. It is usually in the form of photographs in magazines and in the form of videos in films. There are studios specific to this type of pornography in Hollywood. This style has been distributed especially over the Internet since the early 90s. Although its distribution was initially prohibited in many countries, its controlled distribution was later permitted in many liberal democracies. Although age limits have been set for control purposes, this type of pornography that appeals to a wide network on the internet has become an easily accessible form of pornography. Many states have tried to take measures against this situation, but they have not been successful. Hard-hitting pornography, which has been free in the US since its release, was also released in the UK in 2000. Hardcore pornography is still prohibited in some democratic countries such as Turkey. In these countries, Italian-style soft porn productions are allowed. The states that allow its distribution have decided to make its distribution subject to permission at certain points of sale. The presentation and promotion of this species in public places is prohibited in countries.

Social effects

In 1970, Danish criminologist Berl Kutchinsky's report presented to the American Obscenity and Pornography Commission; It was found that pornography has a significant effect on the increase in sexual crimes.[1] Many recent studies and recent studies of Martin Hald and Neil Malamuth have revealed that hardcore porn is beneficial in the sexual life of men and women.[citation needed]

Bibliography

^ "Berl Kutchinsky: Porn and Sexual Offenses in Students". Archived from the original on 30 October 2007. Retrieved August 25, 2009.

g
t
d

Pornography
Pornography

Types

Amateur
cartoon

Hentai
Tijuana bible

Child
Deepfake
Feminist
Hardcore
Internet
Mobile
Telesex
sexting
softcore

Subtypes

Sub
Bisexual
Bondage
CFNM
CMNF
Famous

Sex Tape

Clop
Clown
Monastery
Natural porn
Interracial
Gang bang
gay
Gonzo
Incest
Lesbian
MILF
Mormon
Queer
Rape
Reality
Incest
Tentacle
Transgender
Yiff

History of erotic depictions
pornographic film actor

Anti-Pornography

Movements

UK Anti-Pornography Movement
United States Anti-Pornography Movement
Turkish Anti-Pornography Movement
Antipornography Civil Rights Regulation

Overuse

NoFap
Content Control Software
Parental Control
Employee Monitoring Software

Comments

Feminist
Religious
pro-sexual feminist

Media

Audio
movie

Parody
Cartoon

Magazine
Video Game

Eroge

Possible Side Effects

Addiction

Internet Sex Addiction
Porn Addiction
Sex Addiction

Other

Adult Movie Theater
Blue Film
Golden Age
NSFW
Pornography
porntopia
R18 Rating
Rule 34
Sex Shop
Sexualization
X rating

Also

Erotica

Art
Cartoon
Movie
Literature
Photography

Sexual Activity
Ribaldry
The right to sexuality
Sexual Distance
Sexual Revolution

Softcore pornography is a type of pornography whose subject is sexual images (films and photographs). It is described as "light" because it contains less sexuality than hardcore pornography. With this feature, the genre is also known as the erotic form of hardcore porn. Mild pornography: nude-half-nude depictions and representations may use temporary social nudity or attractive forms of non-nudity. In this type of pornography: open display of vaginal, anal and open ejaculation type sexuality r is not displayed. Full nudity is also included in some light porn lately.[1] However, the genitals of pornographers are often camouflaged, even when fully nude. With the recent uncensored broadcasting of pornography, light porn broadcasts can be allowed on some televisions at certain times of the day.[2] In addition, such scenes appear in more and more non-sexual films.[3] In movies that are not sexually-themed, light porn is often used with hair or techniques to obscure the genitals using darkness. These types of films are used quite a lot, especially in the Japanese soap opera industry that developed after the 1960s.

History

After the creation of the MPAA rating system, it emerged in the USA before the 1980s. Since this time, numerous low- and high-quality light production films have been released. Emmanuelle and Alice in Wonderland were among the first lightly pornographic films. With the release of films, a large market of light porn has emerged in television night shows and movie theaters. For example, only in the USA have global publishers and production companies emerged on this genre such as Playboy, METart, FemJoy, MyHi and Perfect 10.

Film is a work that emerges by showing a series of moving pictures. Films are created by recording real people and objects with a camera, or by creating both elements with techniques such as animation techniques and special effects. In movies, a series of individual frames are created, but when these frames are shown sequentially and rapidly, an optical illusion is created and this optical illusion causes the viewer to perceive continuous motion between individual frames that are watched rapidly in sequence (due to the Phi phenomenon).[1] The filmmaking process is both an art and an industry.[2]

Contents

1 Movie history
2 Film theory
3 movie reviews
4 Independent filmmaking
5 See also
6 Bibliography

Film date

An image from the film Travel to the Moon by Georges Méliès (1902)

The existence of the mechanism for displaying two-dimensional images in motion goes back to the 1860s. In these years, devices called zoetrope and praxinoscope, which were developed from simple optical devices, were used.

With the development of celluloid film, which is still used in photography, it was possible to capture the movement of objects in real time. In the early versions, the viewer had to look inside a special device to see the streaming pictures. With the developments up to the 1880s, it became possible for cameras to capture real-time images, record them on film, and project them onto the screen for a whole audience to watch. In these shows, called "motion pictures", the images could not be played using any cinematic technique.

The first story film was made in 1902 by Georges Méliès with the film Le Voyage dans la Lune (Travel to the Moon). Although motion pictures were a purely visual art until the 19th century, the first silent films were publicly acclaimed. At the beginning of the 20th century, films began to develop a narrative structure. Camera movements began to be applied in a way that made the story of the film more effective. Since the films were silent, the audience began to hire a pianist or an orchestra to produce music according to the passage of the story in the film. In the early 1920s, ready-made music lists were created for this purpose for most films.

Film theory

Film theory is the search for a concise, systematic concept to be applied to film/cinema as an art. Classical film theory provides a structural framework for classical subjects such as technique, narrative, genre, subjectivity, authorship. More recently, analyzes have emerged from psychoanalytic film theory, structuralist film theory, and feminist film theory.

Movie review

Film criticism is the analysis and evaluation of films. It is generally divided into academic criticism, which is done by academics, and journalistic film criticism, which is seen in newspapers and other media.

Film critique seen in newspapers, magazines, and cable broadcasting is basically a peek at new productions. Critics in these areas have a short time to watch the films and prepare their opinions for publication. Therefore, such criticisms are not a deep analysis of the film, but rather introductory articles that briefly inform the audience about the subject, genre and director of the film and show the critic's attitude (likes or dislikes) towards the film. The impact of the criticism made for action, horror and comedy films for mass consumption on the revenues of such films cannot be underestimated. Journalist movie reviews have an important place in the movie industry because of their power to influence the masses.

Academic film critics, on the other hand, have a more academic view of films. perspective, aims to analyze the film in a real sense. Such studies are known as film theory or film studies. In these movie reviews, it is tried to understand why the movie was made, how it went on and its effects on people. Such criticisms are published in scientific journals or as books.

Independent filmmaking

Independent films are often made outside of Hollywood or by other major studio systems. An independent film is one that is not financed or distributed by major motion picture studios. The search for alternatives, business and technological advances contributed to the development of independent filmmaking in the late 20th and early 21st centuries.

Action movie

Spy movie
Fight movie
disaster movie

Documentary film

Nature movie
Travel movie
Semi-documentary film

Sci-fi movie

Alternative history movie
Military science fiction movie
Sci-fi-action movie
Sci-fi-adventure movie
Post-apocalyptic sci-fi movie
Steampunk movie
Space opera movie

Religious movie
Dramatic movie

Erotic drama film
Melodrama movie
Political drama film
Historical drama film
Tragedy movie

Educational film
Erotic movie
Fantastic movie

Fairytale movie
Mythological movie
Superhero movie
Historical fantasy movie

Thriller

Action-thriller
Erotic thriller
Political thriller
Psychological thriller

Comedy movie

Absurd comedy movie
Action comedy movie
Military comedy movie
Sci-fi-comedy movie
Religious comedy movie
Fantastic comedy movie
Rough comedy movie
Black humor movie
Character comedy movie
Comedy-drama movie
Horror comedy movie
musical comedy movie
Parody movie
Political comedy movie
Romantic comedy movie
Sex comedy movie
Western comedy movie
comedy of mistakes
Zombie comedy movie

Horror movie

Sci-fi-horror movie
Biological horror movie
Wizard movie
Witch movie
Monster movie
genie movie
Chinese horror movie
Natural horror movie
Supernatural movie
Erotic horror movie
Frankenstein movie
Golem movie
gothic movie
Ghost movie
Japanese horror movie
Korean horror movie
Werewolf movie
Lovecraftian horror movie
The mummy movie
Haunted house movie
Psychological horror movie
Slasher movie
Devil movie
Vampire movie
Cannibalism movie
Creature movie
Zombie movie

Adventure movie

Pirate movie

Music film
musical movie
Political movie
pornographic film

Hardcore porn
Softcore porn

Propaganda movie
romantic movie

Romantic drama film
Romantic thriller
Romantic adventure movie

War movie
Sports movie
crime movie

Mystery movie
film noir
Mafia movie
detective movie

Historical movie
Western movie

Acid Western movie
European Western movie
Sci-fi-Western movie
Contemporary Western movie
Epic Western movie
Red Western movie
Classic Western movie
Curry Western movie
North Western movie
Musical Western movie
Revisionist Western movie
Romantic Western movie
Spaghetti Western movie
Yeşilçam Western movie

Life story movie

By viewers

Family movie
Children's movie
Teen movie
Women's movie
LGBT movies

Lesbian movie
Gay movie
Bisexual movie
trance movie

According to their format or production

Animated movie
B movie
Independent movie
TV series
Low budget movie
Short film
cult movie
Color film
Art film
Sound film
silent film
Black and white film
TV movie
Feature length
3D movie
Underground cinema
High budget movie

Military science fiction is a subgenre of science fiction. It is often based on the conflict of international, interplanetary, or interuniverse armed forces. Conflicts are built on details. The primary existing characters are usually soldiers. The stories contain details of military technology, procedures, ceremonies, and military history. Spaceships are frequently used themes in conflict or wars. Military stories show parallelism with historical conflicts.

Post-apocalyptic or post-apocalyptic science fiction is a subgenre of science fiction literature, and it is a sub-genre of science fiction literature, and it is about the end of the world due to nuclear or biological warfare and nuclear, biological, ecological, geological or cosmological disasters, and what kind of life can await people who survived such great destructions. topic.[1]

The first important work of this genre is Mary Shelley's The Last Man, published in 1826, and it describes the survivors of a plague epidemic that brought humanity to the brink of extinction.

In the 1950s, during the Cold War, when the threat of extinction due to nuclear war was very acute, this subgenre came to the fore and reached the peak of its popularity.

With the collapse of the Soviet Union and the end of the Cold War, the threat perceptions of that period have changed today, but today there are various threats that are claimed to await humanity. Accordingly, post-apocalyptic stories are still current and popular.[1]

The appeal of post-apocalyptic science fiction; It is associated with feelings of wonder and excitement about experiencing adventure, discovering new horizons, surviving after a destruction and starting again, and what it would be like to stay in a world so devastated by what we know today.[1]

Modern apocalyptic and post-apocalyptic fiction has its roots in the apocalyptic literature of the past. Various myths and beliefs in the world contain stories that predict or depict the end of humanity and the world.

On the big screen, the cult film series Crazy Max can be shown as one of the pioneering examples of the genre.

The game series The Last of Us and Fallout are important examples of the genre.

Space opera

Wikipedia, the free encyclopedia
Classic dime novel cover.

Space opera is a subgenre of science fiction, mostly set in space, with exciting adventures and an emphasis on romance. Probably the most important feature of space opera is its extraordinary quality of characters, struggles, strengths and themes. The first space operas were published in cheap magazines in the 1930s and 1940s. Before the 1970s, space opera meant a sleazy and cheap science fiction movie. But Star Wars: Episode IV - A New Hope, directed by George Lucas, was critically and financially successful when it was released in 1977 and changed the negative view of the genre.

Etymology

The word "opera" in the concept of space opera has nothing to do with music and refers to the genre of "soap opera", which means soap opera in English.

Related books

Dave Langford: "Fun With Senseless Violence," in The Silence of the Langford (NESFA edition, 1996, ISBN 0-915368-62-5)
Michael Levy: "Cyberpunk Versus the New Space Opera," Chapter 31, No. 2 (June 2008), p. 132-3

External links

David G. Hartwell and Kathryn Cramer, "How Shit Became Shinola: Definition and Redefinition of Space Opera" Archived April 22, 2009 at the Wayback Machine.
Locus, August 2003 Archived 17 April 2010 at the Wayback Machine: "The New Space Opera." Special section articles by Russell Letson & Gary K. Wolfe, Ken MacLeod, Paul J. McAuley, Gwyneth Jones, M. John Harrison, and Stephen Baxter. [1] Archived March 11, 2009 at the Wayback Machine. Interview with Alastair Reynolds. [2] Archived June 12, 2009 at the Wayback Machine. Interview with Charles Stross.
The entry on Space Opera from the Grollier Multimedia Encyclopedia of Science Fiction by John Clute and Peter Nicholls, 1995.
Gary Westfahl's chapter on Space Opera Archived September 7, 2020 at the Wayback Machine. in The Cambridge Companion to Science Fiction, ed. Farah Mendlesohn & Edward James, Cambridge University Press, 2003.
Interview with M. John Harrison Archived 12 August 2009 at the Wayback Machine, Locus, December 2003.

Black humor or black comedy is a subgenre of comedy and satire. It deals with topics such as religion, murder, death, illness, war, natural disaster, and mental illness, which are usually taken seriously, with a humorous understanding. Although black humor contrasts with the obvious, it is associated with this understanding. While most humorous situations in direct humor are based on shock and sudden change, dark humor often uses irony and sometimes even fatalism.

Black humor; It is to try to bring a bad event that is not on the agenda as a humor element, in a way that even the victim can laugh, and in a way that creates a sad smile, far from laughing at other people.

A striking example of this particular type of humor is a scene from Beckett's play Waiting for Godot; one of the characters takes off his belt to hang himself, but his pants fall off. In the game Grandma's in the Wedding Cake, the ashes of her grandmother, who died recently, circulate throughout the game and finally take their place in the wedding cake.

Directed by Stanley Kubrick. Strangelove is shown as the pioneer of this humor genre in the field of cinema.

Black humor also includes parody, i.e. creating a comic effect from the separation between form and substance. Commonly, be serious It is used as a response to a situation that should be hanged but clearly fails to do so.

History

The traditional eastern theater, which started with the ancient Greeks, was divided into two as Sock and Buskin, that is, comedy and tragedy. While a tragedy typically ends with the death of a fictional or historical hero, comedy focuses on the lives of middle-class characters and ends with their achievements.[1] The term "drama" has been used to describe all the action of the game. Beginning in the 19th century, writers such as Anton Chekhov, George Bernard Shaw, and Henrik Ibsen[2][3] blurred the line between comedy and drama.

With the advent of radio theatre, cinema, and especially television, it caused a great deal of pressure in marketing to clearly define a product such as comedy or drama. In the mass media, comedy and drama were clearly separated, although in live theater the difference was less significant.

Horror comedy is a genre of literature and film that combines comedy and horror elements. The horror comedy genre almost always inevitably intersects with the dark comedy genre and may even be considered a subgenre of it in some respects.

Washington Irving's short story The Tale of Sleepy Nook is referred to as "the first great horror-comedy story." The story "makes readers laugh one moment and scare the next" and is premised on the dangers typically encountered at Halloween.[1]

Contents

1 Horror comedy movies
2 See also
3 Notes
4 Bibliography
5 Related works

Horror comedy movies

Making fun of the scary is a common element in horror comedy movies. While these movies scare audiences, they also provide something dramatic horror movies don't: "let you laugh at your fears, whistle through the cinematic graveyard, and feel safe in the knowledge that monsters can't reach you"[1]

In the silent film era, the source material for the first horror comedy films came from stage performances rather than literature. The Ghost Breaker (1914), for example, was based on a 1909 game. On the other hand, according to the audience, the horror elements of the movie were more interesting than the comedy elements. After the trauma of World War I, moviegoers in the US sought to see horror on the screen, but they wanted the fear to be balanced with comedy. The pioneering horror comedy film was One Exciting Night, a 1922 film written, directed, and produced by D. W. Griffith, who recognized the genre's stage success and anticipated its film translation. While the movie featured black mask performances, Griffith also used footage of a hurricane in a critical part of the movie. As an early essay, the various genres were not well balanced with horror and comedy. Later, films progressed on balance and dealt with the subject with more sophisticated approaches.[2]

A witch is a person who serves evil purposes in many religions and mythologies and is believed to have supernatural powers. In popular culture, she is portrayed as a woman in a black cloak, with a pointed hood, and flying with her broom.[1]

Witchcraft is closely related to witchcraft. Not every wizard is a witch, but every witch is known to be a good wizard. Those interested in mysticism define witchcraft as follows: "Witches are evil, negative, and destructive. Their expertise in mystical sciences equips them with incredible powers. They can change the course of events and people's lives by damaging them. Their purposes vary from witch to witch, not every witch wants evil.

The origin of the word, which has the same meaning in Turkish as Persian witch, is based on the Sanskrit word (sorcerer, evil spirit).[2] Its western equivalents are based on the Germanic Waarzegster word for fortune teller.[3]

Contents

1 Origin of witches
2 Some Practices Used in Witchcraft
Witchcraft in 3 Worlds
4 Witchcraft in Asia

4.1 Maya and Jazz
4.2 Kaftar

In 5 Religions

5.1 Islam

6 Witches in Popular Culture

6.1 Cinema
6.2 Books

7 See also
8 Bibliography

The origin of witches

The exact timing of the witches' appearance or their specific influence is unclear, but one of the earliest records of a witch appears in the Bible in the book of 1 Samuel, which is thought to have descended between 931-721 BC. Between 1500 and 1660, many women suspected of being witches were beheaded or burned to death in Europe. The Ottomans also became involved with witches. Evliya Çelebi claimed that he had encountered a witch who had turned into a chicken.

Some Practices Used in Witchcraft

Meditation
Processing energy
Seeing auras
Using Ouijas
Chanting mantras
Healing
Divination - tarot vs.
Astrology
use puppet Is
Getting help from spirits
scrying

Witchcraft in the World

From Africa to Europe; from India to the Middle East; It can be observed that wizards and witches are present in cultures around the world.

Witchcraft in Asia

Main article: Witchcraft in Asia

Witchcraft can be practiced under different names and forms in many countries of the world. Macumba is African magic, whereas in the islands of Haiti this art of witchcraft is called Voodoo. Witches care about all religions and beliefs in the world. They can use their magical practices.

If that; If we want to analyze the word witch as people walking around with a broom, wearing a hat resembling a black Sombrero, casting spells; This belief represents the widows who declared themselves as witches living in Europe between the 15th and 17th centuries; it's just a fictional symbol.

According to some, what is called witchcraft; It is a forced profession that widows do in order to survive under the difficult living conditions of the 15th to the 17th century. The main reason for its existence is economic.

As a subject, witches became one of the main characters of cinema and literature in the middle of the 19th century.

The bigoted kingdoms trying to intimidate the people have used the word in the opposite direction, accusing and intimidating people who defend science and justice and symbolized it. The religious effect of this symbol on the people was utilized and it was used to remove the outliers from the society. Thousands of people in Europe and America were burned alive for witchcraft and similar crimes, but such events do not mean that there are no witches in reality.

May and Jazz

In the Eastern Black Sea region, it is believed that witches are ordinary women who were born from normal parents and learned witchcraft later, unlike Anatolian and Middle Eastern folklore[4]. It is believed that the witches called Maya in the regions where jazz is spoken in Trabzon and Pontic Greek can fly by spreading human dirt on them, fly to Egypt and the Crimea, can change shape by taking the form of spiders, birds and other animals, that children and women eat their lungs and do not sink when thrown into the water[4] .

Kaftar

It is a witch figure in Turkish and Persian culture. According to the belief, Kaftar looks like a horned woman.[5] She practices witchcraft, exhuming the dead. It has an ugly appearance. She becomes a bird, she flies. It has sharp teeth. It is said to derive from the Persian word kaftar (pigeon). In Western languages, it is also known as Kaftarkis. It is a masculine horned being. He goes to the cemeteries, pulls out the newly buried body, leans it against a stone and hits it with his horn. Then she takes the corpse on her back. In the beliefs of the peoples of Dagestan, this character is also called "Kuşkaftar". This sharp-toothed being with long tangled hair lives in the forest with his daughters. They kidnap children at night. According to what Ibn-i Batuta wrote, Qaftar is a name given to magician witches.[6]

In Religions
Islam

There are four types of magic specified in the religion of Islam. While Sorcery uses only option c, Witchcraft uses b and c (especially b) to harm people.

a) The Magic of the Chaldeans: They worship the stars, that the stars are the ones who rule the universe, that good and evil come from them. They say that miracles occur as a result of the union of the heavenly forces with the forces on the ground. Allah sent Abraham to guide them. These were also three classes among themselves:

Those who say that Wallachia and stars are eternal; they are called 'Sabie'.
They believe in the divinity of Wallachia. These are the pagans who made an idol on the ground for each realm and served it.
Those who say that he was the one who created Wallachia and the stars and that this gave them the right to rule the earth. They would accept the stars as the means.

b) Magic Revealed Based on Spirit Power: According to this, the human spirit attains the power to invent, kill, and make changes in its structure and form, through purification.

c) Magic Using Spiritual Beings: This is also applied in ways such as making amulets and using demons.

d) It is magic done in the form of eyewash. This is juggling, sleight of hand and similar behaviors.

Islamic scholars have stated that the people included in item a above are unbelievers in terms of their beliefs. But when Islamic scholars focus on a subject like Witchcraft, if the subject is to devote oneself to evil; As a belief, a person is an unbeliever without any substance or condition.

Witches in Popular Culture
Cinema

Witches have been the subject of many movies such as Practical Magic, The Craft, Hocus Pocus, The Blair Witch Project, and Harry Potter. In these films, witches are associated with brooms, wands and cauldrons.

Books

Become one of the most famous series today The Harry Potter books are about the world of Witchcraft and Wizardry.

Another book series about the world of witchcraft is "Sweep Series" by Kate Tiernan. The series consists of fourteen books and a novel by Morgan Rowlands that tells the story of a girl who realizes she is completely surrounded by witches.

See also: My Seme

In the Torah, demons appear as foreign gods to whom pagans sacrificed humans. Later Jewish Midrash works produced a more elaborate display of demons. They can be either good or bad, eat and drink, give birth and die.[10] Belief in demons was never an integral part of Judaism. Musa bin Maymun openly denied the existence of jinn.

Djinns in Christianity

See also: demon
Fallen angels by Hieronymus Bosch on Genesis 6:1–4

Christianity generally sees jinn and demons as the same entity. They are the forces of evil, they rebel against the gods. But according to the books of Enoch, demons are descendants of fallen angels and humans, called Nephilim.[11] During the Flood, the Nephilim whose bodies died, while the demons were not drowned, they returned to the sky by turning their materialized bodies into spirits, and God did not accept them, leaving them in a degraded state (Tartaros, the state of mental darkness) and threw them to the earth. In the belief of jinn, jinn are powerful beings, they deceive people and use some people as mediators. Accordingly, what this psychic says may be true if these jinn are telling the medium the truth. Because the Bible states that the demons lie like Iblis. They can also harm people, so the Scripture says to stay away from anything related to them, any form of spiritism. Iblis is the same personality as the devil. Augustine rejected the Book of Enoch. Accordingly, demons are simply fallen angels and servants of the Devil. When they were created, God gave them a choice to join them or reject them.

In Christianity, a jinn, even many jinn, can enter a person. These demons can be brought out of the person they enter; There is a phenomenon of exorcism in Christianity. The activities of the jinn can be summarized in three main groups; their sexual approach to people (sex), their support of false worship (religious), and their persecution of people (sadism-violence). The Scripture warns people against engaging in demonic activities, such as fortune-telling, witchcraft, invocation, sorcery, and seeking help from the dead. It is believed that jinn have the power to influence people's brains with their superior abilities. It is believed that jinn can use dreams to give their own messages.

Jehovah's Witnesses explain that demons can also harm us physically, but we can be protected if we believe in Jehovah and pray for protection from demons. It is also told that people who are attacked by demons may have been involved in Spiritism in the past or still. Some people who had dealt with Spiritism before, after being disturbed by demons; They say that after becoming Jehovah's Witnesses and not dealing with spiritism, they were never disturbed again after they got rid of everything related to it (music recordings, books, magazines, posters and videos that promote spiritism, amulets, amulets, amulets).

Jinns in Islam

Main article: Jinn (Islam)

Djinns

The meeting place of the jinn in Oman, the cave.

According to the Qur'an, Muhammad was a prophet. It was sent to both humans and jinn. The name of the 72nd sura of the Qur'an is the Surah Jinn, which consists of twenty-eight verses, which talks about jinn, and it tells about jinn. In addition, some rumors about Belkıs, the queen of Sheba, whose relations with Solomon are mentioned in the Qur'an with her superhuman abilities and actions, say that her mother was a genie. Based on these narrations, the issues of whether it is possible and permissible to marry with jinn have been discussed at length in Islam.[12]

According to the Qur'an, humans were created from earth, and jinn were created from a mixture of fire and air. "He also created the jinn from a 'pure-smokeless fire'" (ar-Rahman 55/15), "We created man from dry black mud, from shaped black mud. We also created the jinn from smokeless fire before". (al-Hijr 15/26-27)

In Islamic mythology, it is believed that the jinn were created by a mixture of fire and air[13] and before humans. In some ways they are similar to humans; They have a will, they can do good or bad deeds, they can eat and drink like humans, marry and reproduce. It is believed that they have masculinity and femininity, that is, they are born, grow and die. But it is believed that their lifespan is longer than that of humans. In Islam, jinn are also divided into believers and non-believers, just like humans. It is thought that the number of non-believers is higher. They are obligated to worship like humans. It is believed that believing jinn will go to heaven with believing people, and unbelieving jinn will go to hell with unbelieving people.

Apart from these, there are many assumptions within the framework of the idea that jinn have various characteristics different from humans. Some of those; They can be listed as they can take various shapes, they can be very strong and can perform some heavy work, they can be visible if they want, they can move very fast.

Contrary to popular belief, according to Islamic belief, jinn cannot know the future and the unseen. Although it is believed that they know some mysteries that people do not know because they are a type of spiritual being, they do not know the future and the unseen.

Djinns are tasked with seeing the administration and measures of the earth before human beings; However, they were dismissed from this post because they had done so much evil on the earth and caused mischief. Mankind has been appointed in their place, and has been brought to the authority of the owner of the earth.

According to the Qur'an, the prophet of Islam, Muhammad bin Abdullah, was sent as a messenger to the jinn as well as to humans, and he fulfilled his duty of conveyance among the jinn as well. This issue is clearly stated in the Qur'an in Surah Jinn.

Malik, the black king of the jinn, Kitab'el Bulhan, 14th century. Malik is the guardian of hell in the Qur'an.

The Jinn-Devil Difference

Djinn and demons; They are spiritual beings created from pure fire, that is, smokeless fire flame and air. But there is more air in Jinn and fire in Satan. Jinn are also invisible, hidden beings like devils, capable of taking various forms and forms and accomplishing difficult things, but they are separate creatures from devils in terms of jinn and nature. The father of the jinn is Abu Jan, and the father of the devils is Iblis.[14]

There are marriages among jinn just like humans. They are also responsible for believing and worshiping Allah. Some are rebellious and disbelievers, and some are obedient believers. However, all of the devils are rebels and infidels. They are beings who only do evil and are busy leading people astray.

Satans have no believers or obedience. Jinn can do neither good nor evil to anyone without Allah's permission and judgment. Jinn do not know the ghayb and cannot be aware of the divine revelation that Allah revealed to His prophets.

Djinns can directly penetrate a person's brain, mind, and thought system and influence those regions. (As in fear, anxiety, trembling, daydreaming)

Demons, on the other hand, are different, they permeate the heart and belief center by nature. In the place called "lumme-i sataniye" next to the heart, it constantly delves into people and tries to corrupt it.

Even though Satan is the biggest enemy, he tries to make people forget his existence by using jinn when necessary, evil spirits when necessary, and human devils when necessary, by displaying their evil through them. In order to get rid of this state of heedlessness, one must have strong relations with people with strong faith, clear horizons of thought, clean hearts, service consciousness, frequent conversations where truth lessons are held, and see the world as a guesthouse.

In Persian sources, they are compared to devils and giants.[15]

In other traditions

The term Çorlu[16] is used in Anatolia in the sense of being possessed and mentally ill. There are good or bad ones. They can be found everywhere but invisible to the eye. They are not guardian spirits. They are strays, but they may be tied to one place. The boundaries of nature such as under trees, dark nooks, ruins, ruined houses, waterfronts, bridges The fact that they live in large places reveals their interest in magical and dark forces from the very beginning. They are afraid of iron. Basmalah drives them away. (The fact that they are afraid of basmala is an element that came under the influence of Islam.) When the capak or papak on the heads of the jinn is captured, that jinn dies.[17] He loses his invisibility before he dies. Because it is the Kalpak on his head that provides invisibility. Incidentally, it should be noted that in fairy tales and epics, there are heroes who are invisible by wearing their magic vests. It is highly probable that these titles were possessed by demons. There are ones that look like snakes and birds. They can be disguised. Idioms such as choc hit, çor hit, çor touch[18] express diseases related to jinn.

In other cultures, geniuses believed.[19] In the ancient Guanche mythology of Tenerife (Canary Islands), called Maxios is a set of native geniuses and nature in Ceia. Evil geniuses also called Tibicenas. The devil himself as they called Guayota also looked like a genius, like Iblis in Islam.[20] The Guanches were of Berber origin in North Africa. Ancient Mesopotamians believed that the world was home to many demons. In Chaldean mythology, the seven demons were known as shedu. It was believed that the royal palaces had guardian spirits.[21]

Entities associated with demons

Imam Ali-Div battle, unknown artist, İhsan'ül-Kibar (1568), Golestan Palace

Ginni: Jinn is also called genie.
Fairy: The female jinn are called fairies.
Ifrit: Non-Muslim male jinn are called ifrit. He is an infidel jinn who is strong and capable of doing anything.
Giant: Invisible, powerful, large, human-like jinn.
Ghost: Unbeliever demons wandering in the cemetery.
Mount Kaf: The place where jinn giants are thought to live. (A mountain with a name but not itself)
Zümrüd-ü Anka: Bird-shaped jinn.
Witch: Infidel old females of the jinn.
Ammar: The jinni who live with people and sit with them are called ammar or ummar.
Ervah: The jinni that comes before children is called ervah.
Marid: If the demon is more extreme than the devil, it is called Marid. (An extreme and stronger than marid is called ifrit.)
Satan: If the jinn is evil and malicious, he is the devil. These demons are different from demons descended from Iblis. (What is meant by this is that Iblis, who inherited descendants from demons, is descended from jinn.)
Fallen angel: A genie was good, but evil did. If they have genies, they turn into demons. Some fallen angels transform into humans and become visible.

Frankenstein or Modern Prometheus is a novel written by English writer Mary Shelley (1797–1851) and is about the story of an oddly shaped but intelligent creature in an unusual scientific experiment created by a young scientist, Victor Frankenstein. Shelley began writing the story when she was 18, and the first edition of the novel was published anonymously in London on January 1, 1818, when the author was 20.[1] The author's name appeared for the first time in the second edition of the novel, which was published in France in 1823.

Shelley traveled across Europe in 1814, traveling along Germany's Rhine River, 17 km from Frankenstein Castle, where an alchemist experimented two centuries earlier, during a stop in Gernsheim.[2][3][4 ] Later, he went to the Geneva (Switzerland) region, where the story takes place, where he talked about galvanism and similar mysterious ideas among his friends, especially his lover and future husband Percy Shelley. Mary, Percy, Lord Byron and John Polidori decided to hold a competition to see who could write the best horror story. After days of thinking, Shelley envisioned a scientist who created a living creature and was horrified by what he had done, and what he imagined later became the plot of his novel.

Frankenstein was influenced by elements of the Gothic novel and romanticism movements. The work he wrote is also one of the first examples of science fiction. Brian Aldiss argued that the novel should be considered as the first true science fiction story, as the central character "makes a deliberate decision" and "does modern experiments in the laboratory" to achieve fantastic results, unlike previous stories with fantastic elements similar to later science fiction novels.[5] Having an important influence on literature and popular culture, Frankenstein; It has influenced horror stories, movies and games.

Since the novel's publication, the name "Frankenstein" has been used to describe the monster. This usage is sometimes considered incorrect, but critics who use this expression consider it an established and acceptable expression.[6][7][8] The creature is called "creature", "beast", "demon", "failure", "miserable", "friend" and "he" in the novel. In his talk with Victor Frankenstein, he said, "Becoming Adam" He compares himself to an angel expelled from his paradise who was unjustly deprived of happiness". He also sees himself as the epitome of his situation with Lucifer in Paradise Lost which is read by the creature and which is also linked to the subtitle of the book.

Contents

1 Topic

1.1 Captain Walton's introductory frame narration
1.2 Victor Frankenstein's narrative
1.3 Description of the creature
1.4 Continuation of Victor Frankenstein's narration
1.5 Captain Walton's final frame narration

2 Characters
3 Composition
4 Release
5 Frankenstein and the Beast

5.1 Creature
5.2 Victor Frankenstein's last name
5.3 Victor Frankenstein's name
5.4 Modern Prometheus

6 Shelley's resources
7 Derived works
8 Movies, games and television
9 See also
10 Notes
11 Bibliography
12 Additional readings

12.1 Prints

12.1.1 text of 1818
12.1.2 1832 text

13 External links

Subject

A variant of the different editions of the novel

Frankenstein begins with a letter from Captain Robert Walton to his sister in the form of a frame narrative technique. The events take place at an unspecified time in the 18th century and the dates of the letter are given as "17-".

Captain Walton's introductory frame narration

The novel Frankenstein is written in epistolary form, documenting a fictional correspondence between Captain Robert Walton and his sister, Margaret Walton Saville. Walton, a failed writer and captain, sets out to explore the Arctic and expand scientific knowledge in hopes of achieving fame. During the voyage, the crew of the ship saw that a squat passenger car, fixed on a sled, pulled by dogs, was heading towards the north, and a creature in the form of a human but in gigantic dimensions sat on it, and the creature was handling the dogs. A few hours later, the crew rescues a nearly frozen and weakened man named Victor Frankenstein. Adam realizes that Walton is worried about the same thing, and begins to tell him about the great and unique disasters that have happened to him. The story told is used as the framework for Frankenstein's narratives.

Explanation of Victor Frankenstein

Victor begins by talking about his childhood. Born to a wealthy Genoese family in Naples, Victor and his brothers Ernest and William, as children of Alphonse Frankenstein, son of Caroline Beaufort, are encouraged to better understand the world through chemistry. As a little boy, Victor deals with collapsed systems by combining thousands of conflicting theories and struggling helplessly in the swamp of various information. When Victor was five years old, his family adopted Elizabeth Lavenza, the orphan daughter of an Italian nobleman, who lives with a foster family, and Victor later falls in love with the girl. In the process, Victor's parents, Alphonse and Caroline, adopt another orphan named Justine Moritz, who will become William's nanny.

Before leaving the University of Ingolstadt in Germany, her mother dies of scarlet fever and Victor bury himself in experiments to deal with his mother's grief. At the university, he is very successful in chemistry and other sciences and soon develops a secret technique to give life to non-living matter. In the end, he undertakes to create a human species, but because he thinks the details of small parts will slow his pace, he decides to develop a creature of gigantic proportions, 2.4 meters tall and with proportional limbs. Despite his intention to create a beautiful creature, the creature's eyes and skin were yellow. Also, its pale yellow skin barely covers the creature's skin and the veins beneath it. Disgusted by his work, Victor runs away from the creature when he wakes up. While wandering the streets, he encounters his childhood friend, Henry Clerval, and takes Henry to his own home. He's afraid that Henry will see the monster, but he doesn't have to deal with it as the monster runs away.

Victor falls ill and Henry takes care of himself. After a four-month convalescence, she returns home when she learns that her brother William has been murdered. When Victor reaches Geneva, he sees the monster at the scene and believes he was responsible for the monster climbing the mountain. William's nanny, Justine Moritz, is tried and found guilty of murdering William when William's locket containing a miniature portrait of Caroline is found in his pocket. Victor remains helplessly silent, knowing that no one will believe him even if he tells the truth. Justine is executed for murder.

With grief, sadness, and guilt, Victor retreats into the mountains. The creature finds him and wants Victor to know what happened.

Creature's narration

The creature that can think and speak spent the first days of its life alone in nature; Realizing that he was afraid and hated by his people, he began to hide. Abandoned tied to a hut While living in an old building, he becomes interested in a poor family living there and begins to cautiously collect wood for the family. Secretly living among the family for months, the creature learned to talk by listening to them and learned to read after discovering a lost book bag in the forest. When he sees his reflection in a pond, he realizes that his physical appearance is terrible and is horrified when he realizes how his appearance scares normal people. However, he approaches the family in hopes of becoming his friend. She initially manages to make friends with the family's visually impaired father, but when the other members of the family run away from the house in fear, the creature becomes enraged and leaves the house. He then vows to take revenge on his creator for bringing him into a world he hates. Using details from Victor's diary, he goes to Victor's family estate in Geneva, kills William, and places his victim's locket on Justine's dress.

The creature defends that it has the right to be happy as a living being and asks Victor to create a wife like him. If his wish comes true, he promises to disappear into the vast forests of South America. He says that if his request is denied, Victor will kill his surviving friends and loved ones and will not stop until he completely destroys him.

Victor reluctantly accepts the creature's idea out of fear that something bad could happen to his family. The creature says it will spy on the process.

Continuation of Victor Frankenstein's narration

Clerval accompanies Victor to England, and when he arrives in Perth, Scotland, he leaves at Victor's insistence. Victor suspects the creature is following him. While working on the female creature in the Orkney Islands, he worries about what might happen if the woman he creates is someone who will hate the creature or someone more evil than the creature. He also thinks that two creatures can cause the creation of a race that can lead to the death of mankind. Seeing the creature in the window, Victor, realizing that the creature is really following him, smashes the unfinished female creature into pieces. The creature threatens Victor to continue working after what has happened, but Victor believes that the creature is evil, will make his wife worse, and the couple will threaten all of humanity. When Victor destroys the work, the creature tells him that he will be leaving now, but that they will meet again on Victor's wedding night. Victor perceives this threat to his own life and believes that the creature will kill him when he is happy.

When Victor comes to Ireland, he is arrested on charges of murdering Clerval. The creature strangled Clerval to death and left the body to be found where his creator came from. Victor is acquitted and returns to his home in Geneva with his father, who handed Elizabeth part of her father's inheritance.

Preparing to marry Elizabeth in Geneva, Victor prepares to fight the creature by arming himself with pistols and a dagger. Victor tells Elizabeth to stay in her room the night after their wedding, while he searches for the "demon". While Victor is searching the house, the creature strangles Elizabeth to death. Victor sees the Creature pointing at Elizabeth's body through the window and tries to shoot him, but the creature escapes. After returning to Geneva, Victor's father weakens and dies a few days after old age and Elizabeth's death. Seeking revenge, Victor chases the creature to the North Pole, but is exhausted and falls into hypothermia.

Captain Walton's final frame narration

At the end of Victor's narration, Captain Walton continues to tell the story, finishing Victor's frame narration. A few days after the creature disappeared, the ship is trapped in the ice, and many crew members die of the cold before Walton insists on returning south after the rest of his crew is freed. Walton sees Victor's story as a warning and decides to turn the ship.

Victor dies shortly after, but before he dies, he tells Walton to "avoid getting caught up in greed." Walton notices the creature mourning his ship and Victor's body. The Creature tells Walton that Victor's death has not brought him peace, but rather that his crimes have left him completely alone. The creature jumps out of the porthole onto the glacier standing next to the ship, and is soon drifted away by the waves and disappears into the darkness.

Characters

Victor Frankenstein: The protagonist and narrator of most of the story. He is the creator of the beast.
Creature (Frankenstein's monster) -- A terrifying creature created by Victor Frankenstein.
Miss Margaret Saville: British citizen. Daughter of Robert Walton. Recipient of written letters.
Captain Robert Walton: The captain of the boat that took Victor. Miss Margaret Saville's sister and letter writer person.
Beaufort: Merchant. Father of Caroline Beaufort. One of Victor's father's best friends.
Caroline Beaufort: Beaufort's daughter, Victor's mother.
Ernest: Victor's brother. He is seven years younger than Victor.
Henry Clerval: Victor's best friend since childhood. Son of a Geneva merchant.
Justine Moritz: Daughter of Madame Moritz. Frankenstein lived with his family from the age of 12 and was hanged for murdering William.
Elizabeth Lavenza: Daughter of a Milanese person. His mother was a German and died giving birth to him. He was raised in the Frankenstein household as Victor's "cousin".
William: Victor's youngest brother.
M. Krempe: Professor of natural philosophy at the University of Ingolstadt. He is a strange but devoted man to the secrets of science. It inspired Victor.
M. Waldman: A professor in Ingolstadt. It inspired Victor.
Agatha: De Lacey. Felix's sister's daughter.
Felix: De Lacey's son.
De Lacey: He is a blind old man descended from a good family in France. Father of Agatha and Felix. His family was watched by the monster, and he learned to speak and read from them without knowing it.
Safie: Daughter of a Turkish merchant and a Christian Arab.
Mr. Kirwin: A judge.
Daniel Nugent: A witness against Victor in the murder case.

Composition

Draft of Frankenstein ("It was on a dreary November night that I saw my hard work accomplished...")

During the wet summer of 1816, the "Year Without Summer," the world was locked in a long cold volcanic winter after the eruption of Mount Tambora in 1815.[9] 18-year-old Mary Shelley and her lover—who would later become her husband—Percy Bysshe Shelley visited Lord Byron at Villa Diodati on Lake Geneva, Switzerland. When the weather was constantly very cold and gloomy this summer, when they could not carry out the outdoor activities they had planned, the group retreated into the house until dawn.

Sitting by the fireplace in Byron's villa, the group spent their time reading German ghost stories translated into French from the book Fantasmagoriana.[10] Later, Byron suggested that "everyone write a ghost story."[11] Unable to devise a story, young Mary worried: "Have you thought of a story? [This question] was asked of me every morning and I had to answer with a humiliating negative."[12] One evening in midsummer, the discussions turned to the nature of the life principle. "Maybe a corpse would come back to life." he said, "Galvanism symbolized such things." added Mary.[13] They were in seclusion after midnight. Mary had trouble sleeping, and while she was half asleep, she had a "waking dream" and was startled by the horror of this dream.[14]

In September 2011, astronomer Donald Olson, after visiting the Lake Geneva villa the previous year and examining the data on the movement of the moon and stars, Mary's "awake dream" was June 16, a few days after Lord Byron suggested that everyone write a ghost story. He concluded that it happened "between 2 and 3 o'clock" in 1816.[15]

Mary began writing what she assumed would be a short story. With Percy Shelley's encouragement, he turned the story into a full-fledged novel.[16] He later interpreted that summer in Switzerland as "his first step from childhood to life".[17] Shelley wrote the first four chapters of the novel within weeks of her sister Fanny's suicide.[18] Byron succeeded in writing a piece based on vampire legends he heard while traveling the Balkans, and John Polidori created The Vampyre (1819), the progenitor of the romantic vampire literature genre. Thus, these two legendary stories emerged from these special meetings.

The group also talked about the ideas of enlightenment and counter-enlightenment. Shelley thought that the enlightenment idea could advance and expand society if political leaders used their power responsibly, while the misused romantic idea could destroy society.[19][20]

Mary and Percy Bysshe Shelley's first three-volume edition (1816-1817) in 1818 and a clean copy prepared for Mary Shelley's publisher are now at the Bodleian Library in Oxford.[21] In 2008 the Bodleian published a new edition of Frankenstein, edited by Charles E. Robinson, with comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions.[22]

Publishing

Portrait of Mary Shelley (1840–41) by Richard Rothwell

Shelley completed his paper in April/May 1817, and Frankenstein, or Modern Prometheus, was published on January 1, 1818,[23] by a small London publishing house, Lackington, Hughes, Harding, Mavor, & Jones.[24][ 25] Published anonymously with a foreword to Mary by Percy Bysshe Shelley and a dedication to her father, philosopher William Godwin. 19th face It was released in three volumes of only 500 copies in the standard "triple layer" format used in the first editions of the year.

The second edition of Frankenstein, Presumption by Richard Brinsley Peake; or, after the success of the Fate of Frankenstein, it was published in two volumes (by G. and W. B. Whittaker) on 11 August 1822.[26] In this edition, Mary Shelley's name is featured on the cover as the author of the book.

A single-volume "popular" edition appeared on October 31, 1831, by Henry Colburn & Richard Bentley.[27] In this edition, Mary Shelley heavily revised the story, partly to make it more radical, and wrote a long new preface with a slightly embellished version of the story's genesis. While the text of 1818 was followed by several editions, this edition is the most widely published and read.[28] Some experts prefer the original version of the work and state that this version preserves the spirit of Mary Shelley's imagination.

In 2008, a new edition of Charles E. Robinson's novel The Original Frankenstein was published. Robinson reviewed the original manuscript written by Mary Shelley and recorded the edits made by Percy Bysshe Shelley.[29]

Frankenstein and the Beast
creature

A British political cartoonist likened the Irish Fenian Movement to Frankenstein's creature after the Phoenix Park murders. Illustration is from an issue of Punch magazine, dated 1882.[30]

Frankenstein did not give the creature a name by rejecting the monster he created, which led to a lack of identity. Throughout the novel, it is characterized by words such as "creature", "beast", "demon", "failure", "wretched", "friend" and "he". When Frankenstein chats with the creature in Episode 10, he uses definitions for the creature such as "abominable beast", "vile demon", "nasty comrade". Throughout Frankenstein's narratives, Shelley described the creature as "Adam".[31] Shelley referred to the first man in the garden of Eden with the following epigraph:

O Creator, did I want it, from my mud
Did I burn you for kneading me, human
To get me out of the dark?

—John Milton, Paradise Lost (X. 743–5)

Although in later studies, the creature was described as a composite of all body parts formed from a cadaver and reanimated by the use of electricity, this explanation is not entirely compatible with Shelley's work: both the use of electricity and the refined image of Frankenstein's monster, James Whale' The film adaptation of the story popularized in 1931 and the other first movie based on the creature are the result of work. In Shelley's original work, Dr. Frankenstein discovers the previously unknown basic principle of life and allows this concept to develop a method that gives life to inanimate matter. However, the exact nature of the process remains largely unclear. After much hesitation in using this power, the Doctor meticulously builds the creature's body for two years and brings the creature to life using a process he did not specify.

The creature is often incorrectly called "Frankenstein." In 1908, one writer wrote, "It's strange to see the term 'Frankenstein' almost universally misused, even by cultured people, when describing the monstrous beast." He expressed his words.[32] In Edith Wharton's The Reef (1916), he is described as a "baby Frankenstein" as a mischievous child.[33] He was mentioned as "the producer of poor Frankenstein" in David Lindsay's "The Bridal Ornament", which was published in The Rover on June 12, 1844. After the release of Whale's cinematic Frankenstein, most of the people started calling the creature "Frankenstein". This situation continued in Frankenstein films, including the Bride of Frankenstein (1935) and Two Eyes Against Frankenstein (1948). Also, future staging and adaptations of the story involve an evil lab assistant, Igor or Ygor, while the original story does not include such a character.

Victor Frankenstein's surname

Mary Shelley claimed that she derived the name Frankenstein from a dream she had. However, despite public claims of authenticity, a number of other sources have been cited as Shelley's true inspiration. The German name Frankenstein means "Frank stone" and is associated with various places in Germany, including the Frankenstein Castle (Burg Frankenstein) in Darmstadt, Hesse, and the Frankenstein Castle in Frankenstein, a town in the Palatinate. In addition, there is a castle called Frankenstein in Bad Salzungen and a municipality called Frankenstein in Saxony. In 1945, Ząbkowice Śląskie, now a city in the Lower Silesian Voivodeship, consisted mostly of Germans and was called Frankenstein in German, and in 1606 caused a scandal surrounding the gravediggers. it was a place. It has been claimed that this place was a source of inspiration for the author.[34] Finally, the aristocratic Franckenstein Dynasty from Franconia made claims about the name.

Radu Florescu argued that Mary and Percy Shelley had gone to Switzerland by visiting Frankenstein Castle near Darmstadt in 1814 while they were returning to England. This castle was a place where Conrad Dippel, a famous alchemist, conducted experiments on the human body, and Florescu justified that he did not mention Mary's visit to ensure the originality of the work she wrote.[35] A literary essay by A. J. Day supports that Florescu visited Frankenstein Castle before Mary Shelley was acquainted and wrote her first novel.[36] Day discussed the details of the alleged description of Frankenstein Castle in Mary Shelley's 'lost' journals. According to Jörg Helene, the 'missing journals' and Florescu's allegations could not be verified.[37]

The name of Victor Frankenstein

Main article: Victor Frankenstein

The possible origin of the name "Victor" comes from John Milton's Paradise Lost, who had a great influence on Shelley, and an epigraph at the opening of the work includes an excerpt from Paradise Lost, and the creature is reading this book.[38] ][39] While Milton often uses the word "Victor" for God in this work, Shelley gave the character of Victor the role of playing God by giving life to someone. In addition, the creature Shelley describes owes a lot to the character of Satan in Paradise Lost, and the creature says that after reading the epic poem, he empathizes with the demon character in the poem.

There are many similarities between Victor and Mary's husband, Percy Shelley. The name "Victor" was Percy Shelley's pseudonym in his poetry collection Original Poetry by Victor and Cazire, written by Percy Shelley and his brother Elizabeth.[40] It is said that one of Mary Shelley's models for Victor Frankenstein was Percy, who "experimented electricity and magnetism and gunpowder and countless chemical reactions" at Eton, and had scientific equipment in his Oxford rooms.[41] While Percy Shelley is the first-born son of a wealthy country knight with strong political connections and a descendant of Sir Bysshe Shelley, Victor in the work tells his own ancestry: "My ancestry is from Geneva, my family is one of the most distinguished families of that republic. My ancestors have served as undersecretaries and members of parliament for generations. My father is respected. "He held a variety of public offices with dignity and honor. Everyone who knew him admired his honesty and his endless diligence in public affairs. He spent most of his youth relentlessly engaged in country affairs." explains it in sentences. Percy has a sister named Elizabeth, while Victor's adopted sister is named Elizabeth.

On February 22, 1815, Mary Shelley gave birth two months premature, and the baby died two weeks later. Percy was not very worried about the condition of this premature baby and went with Mary's half-sister Claire.[42] On the other hand, when Victor saw the creature come to life, although he escaped from his apartment, the creature began to approach him, just like a child approaches its parent. Victor's responsibility for the creature is one of the main themes of the book.

Modern Prometheus

Modern Prometheus is the subtitle of the novel, but in some modern editions today this part is only included in the prefaces of the introduction. In later versions of Greek mythology, Prometheus was a Titan who created mankind at the behest of Zeus, creating a being in the form of the gods and breathing souls into him. Prometheus; He teaches humans to hunt, read, and heal their sick, and when he tricks Zeus into accepting shoddy offerings from humans, Zeus takes fire from mankind. Prometheus plays in Zeus to give fire to mankind. When Zeus learned of this situation, he punished Prometheus forever by tying him to the Caucasus rocks, and every day an eagle came here and smashed Prometheus' liver, and Prometheus reappeared the next day due to his immortality. Finally, Heracles (Hercules) saves Prometheus, who is intended to be punished here and left alone forever. The Titan Prometheus in Greek mythology has a parallel story with Victor Frankenstein. It reflects Titan's innovative work in creating humans, with Victor's work creating humans in new ways. Some argue that Mary Shelley did not see Prometheus as a hero, but rather as a part of a demon, blamed human beings for giving fire, and encouraged the human race to eat meat.[43]

Prometheus also appears in Latin legends, but has a different story. In this version, Prometheus creates man from mud and water, which is linked to Frankenstein themes. Victor defies the laws of nature and is eventually punished by what he has created.

Byron especially The Chain written by Eshilos It was linked to the play Prometheus Reached, and Percy Shelley would soon write his own Prometheus Unbound (1820; Prometheus in Chains). The term "modern Prometheus" is a term used by Immanuel Kant for Benjamin Franklin and his electrical experiments.[44]

Shelley's resources

Shelley has added a number of different resources to her work. Ovid's Promethean myth is one of them. The influence of John Milton's Paradise Lost and Samuel Taylor Coleridge's The Old Sailor is evident in the novel. Mary may have gained some ideas for Frankenstein's character from Humphry Davy's Elements of Chemical Philosophy. References to the French Revolution are included in the novel. François-Félix Nogaret's Le Miroir des événemens actuels, ou la Belle au plus offrant (1790) is among the possible sources.[45]

For the past three decades or so, many writers and historians have tried to relate some popular natural philosophers (now called physical scientists) to Shelley's work because of a few key similarities. The first of the two most important philosophers among Shelley's contemporaries was Giovanni Aldini in London, who made several public attempts to rejuvenate man through bio-electrical galvanism[46] while the other was Johann Konrad Dippel, who promoted the development of chemical pathways to prolong human life. While aware of both these men and their activities, Shelley does not mention them or their experiments in any of the notes he published or commented on.

The supernatural or supernatural are phenomena that encompass all beings, places and events that fall outside the scope of scientific understanding of natural laws.[1] This includes categories of entities that transcend the observable universe, including spiritual entities such as angels, gods, and spirits. It also includes alleged human abilities such as magic, telekinesis, precognition, and extrasensory perception.[2]

Historically, supernatural powers have been invoked to explain various phenomena that are scientifically understood today, such as lightning, the seasons, and the human senses. The philosophy of naturalism claims that all phenomena are scientifically explainable and that there is nothing beyond the natural world, and it is skeptical of supernatural claims.[3]

The supernatural occurs in folklore and religious contexts.[4]

Golem (translated from the Hebrew word גּוֹלֶם gōlem into Turkish) is a creature that has no soul in legends, usually made of clay or earth.[1] In the Middle Ages, many legends emerged regarding the saying of the names or attributes of the god in different ways, the different arrangement of the letters forming these words, or the creation of golems with amulets and talismans made by writing them on a piece of paper.[2] He is the hero of a Jewish legend, in the Talmud it is written that Adam was a golem before the spirit was blown.[3]

In Jewish folklore, golems are usually made of mud in human form. They have no souls, their intelligence is low, which Golem level is derived from the Hebrew word for "fool" גולם‎).[3] Its main purpose is to protect its creator. The belief in the supernatural "Prague Golem" that provided justice against anti-Semitics was widespread among 17th century Prague Jews.[4]

It is believed that a clay statue was made by Rabbi Judah Loew Ben Bezalel and brought to life to protect the Jewish people. The word emet (אמת, righteousness) was written on his forehead. He protected the Jewish people and grew stronger over time. But on Saturdays the golem was forbidden to work, so the letter e was erased from his forehead so that the word met (מת, death) remained and the golem would stand still. One Saturday they forgot to delete the letter e and the golem got out of control and started destroying everything and hurting people. So they erased all the letters on his forehead and the golem broke into pieces and scattered. It is said that they sealed the pieces in a secret room under the Altneu synagogue in Prague.

Golems are common, especially in the genres of fantasy books, computer games, and role-playing games. He is usually animated to carry out orders given by magic and talismans. It stays until you fulfill the given order or for a certain time and then disappears. There are various types such as earth, rock, wood, fire, iron, blood. The golem is named according to whatever material it is made of (rock golem, iron golem, etc.) and has its attributes.

Gothic is a unique art and writing style. Gothic script is a style of writing used mostly by Germans that was tried in early printing trials. Gothic art emerged as a reaction to Latin art, with the change of Romanesque art in the second half of the 12th century. It is the movement that closed the Middle Ages and started the Renaissance. Gothic style is not only effective in architecture; It has also been influential in sculpture, painting, writing, ornaments, and even everyday objects.

Contents

1 Emergence
2 Gothic architecture
3 Hey baldness
4 Pictures

4.1 Frescoes
4.2 Miniature

5 See also
6 External links

Emergence

The term "Gothic" was first used in a pejorative sense by Giorgio Vasari. According to him, this style is peculiar to the Goths, that is, to the barbarians, who plundered Rome. Although the Gothic style is generally prevalent from the early 12th to the mid-15th century, this dating varies for different geographies. For example, while Gothic existed until the middle of the 15th century in France and Germany, the cradle of the style, it disappeared at the beginning of the 15th century in Italy, where it entered later. The Gothic period is a period of great political changes in Europe. In 1204, IV. The Crusade occupied Constantinople and neutralized Byzantium and the political formation it represented. In 1214, the French under Philippe Auguste and their allies defeated the Holy Roman German Army, and under his rule, France turned from a feudal lords community to a powerful monarchical structure.

12. In the 13th century, towns and cities began to appear instead of the villages formed by small population units gathered around monasteries and castles in the 13th century, which brought new social arrangements. Civilization and the increase in intellectual accumulation brought about by urbanization have also initiated a significant secularization process in the administration against the holy power based on the spiritual powers represented by the church. After 1240, Paris became the most important cultural and political center of Europe, and French became a lingua franca, replacing Latin.

Gothic architecture

The church of Saint Denis near Paris, designed by Abbot Suger in 1122, is shown as the beginning of Gothic architecture and the first building in which the characteristics of the style appear. Compared to France and Germany, it has not had much influence in Italy, which is considered the art center of Europe. It adheres to a vertical style in England that multiplies the columns and opens them like a fan under the dome. In Spain, the mudedjen style emerged from the combination of Gothic art with Arabic motifs. Gothic architectural art continued in the north of Europe until the beginning of the 16th century. The main features of Gothic architecture are pointed arches, rib vaults, rose windows, towers and flying buttresses, as well as extremely high-looking structures.

The principal work of Gothic architecture is the cathedral. In the 13th century, the society spent almost all its excitement and wealth on the construction and decoration of the cathedral. Thus, the economy also developed. The most important examples of Gothic architecture: Notre Dame Cathedral in Paris, Chartres Cathedral, Reims Cathedral and Strasbourg Cathedral; Roskilde Cathedral in Denmark; It is Salisbury Cathedral in England and Milan Cathedral in Italy. The Gothic architectural style was used in Western Europe, especially in religious buildings. Batalhar Monastery in Portugal, "Palace of the Popes" in Avignon, France are examples.

The architects of Gothic art determined the thrust and direction of the weight and transferred the pressure to the arches and elephant feet. Thus, the entire structure was connected to elements that were beneficial to the balance. Stained glass decorations were made on the walls as the weight of the feet took over the walls. The large number of glass and stained glass on the facades became one of the characteristic features of the Gothic buildings. In Gothic architecture, which completely dominates the weight, the buildings give a feeling as if they are flying high.

The important feature of the Gothic architectural style is the tapering. Instead of the common domes in Roman architecture, sliced domes, pointed and intersecting arches were used instead of round arches. Another issue sought in religious buildings is to evoke a sense of greatness and sublimity. The abundance of windows, the color of the window glasses, the opaque towers on the roofs are other remarkable features.

Cathedral of Amiens in France

Notre Dame cathedral in Paris

Cathedral of Chartres in France

Reims Cathedral in France

Strasbourg Cathedral in France

Salisbury Cathedral in England

Milan Cathedral in Milan, Italy

The Basilica of Saint Denis in France from the west

The front facade of Batalhar Monastery in Portugal

"Palace of the Popes" in Avignon, France

Sculpture

Main article: Gothic art (sculpture)

Gothic sculptures are mostly found in the entrances and walls of religious buildings such as cathedrals and churches. Artists were made to present a visual element to believers, as in the early periods of Christianity, through sculptures. However, the important thing for sculptors who are still influenced by ancient teachings is to convey to the beholder what the person in the figure feels. Authenticity, perspective does not matter. Its influence in sculpture became widespread in Europe until the 12th century.

Adam and Adam in Notre Dame Cathedral in Paris Eve statue

Sculptures of Chartes Cathedral (ca. 11 West (Royal) Entrance) in France

Gifts of the Magi statues in front of Strasburg Cathedral in eastern France

The "Man of Sorrows" at the entrance to the Protestant Lutheran Cathedral in Ulm

Image

13. With the beginning of the 19th century, the Gothic style begins to be applied in the visual arts. In the first and middle stages of the Gothic painting style, instead of showing people or perspectives naturally, the use of color comes to the fore according to the importance and religious meaning of arrangement and proportions in painting. One of the characteristics of the Gothic painting style is the depiction of religious subjects in the paintings. Apart from this, worldly subjects such as noble life, hunting and holidays were also used in the paintings.

It precedes Gothic-style stained glass and fresco in the north of the Alps. At that time, Italy took a special role as the great wall structure gained importance in its architecture. In the frescoes, the Gothic style reaches its highest point with the naturalism that has never been used before by Giotto di Bondone. Naturalism can be understood from the depth it gives to the frescoes and the unique facial expressions it gives to each figure.

13. In the middle of the 19th century, in France, besides the art of stained glass, miniature also gains importance. The miniature is increasingly used not only in liturgical works, but also in other worldly books. The Limburg brothers and their work Très Riches Heures (1413-1416) form the pinnacle of this development.

Frescos

Maesta of Cimabue, circa 1280, San Francesco, Assisi

The Kiss of Judas by Giotto, 1304-1306, Church of Scrovegni, Padua

Simone Martini, 1317-1319, San Francesco, Assisi

Miniature

In France and England, the Gothic style began to be practiced in miniature around 1160/70; In Germany, Romanesque figures were used in miniature until 1300. France was the leading country of the Gothic period and determined the artistic development of miniature. With the spread of printing in the second half of the 15th century, miniature began to lose its importance during the transition from the Gothic period to the Renaissance.

The werewolf is a mythical human who turns into a terrifying wolf-like creature during the full moon. The ability of a human to take on the form of an animal, especially a wolf, is not a sufficient explanation for the origin of the werewolf myth. It is commonly known as being bitten by a wolf or being born in a certain month. Werewolf stories have been found in various sources and societies since ancient times. In human communities living in different geographies, not only werewolves but also various human-animal mixture creatures are encountered. Scandinavian bear men, Indians bison men, Africans hyena men, Turks' itbaraks and Istanbul's cat women are examples of these.

Werewolves As in the Turkish name, the Wolf part is correct, but werewolves do not have to be only men, they can also be women. According to a belief; It was proven to be true for the first time in Central Asia in the year 170. One letter mentions the Werewolf curse. Werewolves are said to be those born in March. There are 2 more full moons than expected in March. The event was also mentioned between 3 and 18 days, but the text could not be understood because it was not very clear. According to the article it is reported as a curse, not a power. of werewolves; discoloration of the eyes, size and sharpness of the canine teeth, are defined as supernatural powers.

Contents

1 Istanbul's cat women and werewolves
2 Werewolf in history
3 Various examples of werewolves
4 20th century
5 Lycanthropy
6 "Erbörü" in Turkish folk culture
7 Boris Vian's Werewolf
8 Werewolves in Buffy the Vampire Slayer
9 See also
10 Bibliography
11 Footnotes

Istanbul's cat women, werewolves

Werewolf illustration.

The American novelist and screenwriter, Guy Endore, who talks about the cat women of Istanbul. Endore tells a fictional story in his book The Werewolf of Paris, published in 1934 for the first time in which he talks about Catwomen. The story set in the commune uprising of 1870 supports the werewolf issue with detailed research.

This is what Endore says about the catwomen of Istanbul: "They eat rice grains using a hairpin, and they know that they will fill their bellies at the table set by the creatures."

American writer Endore writes a horror novel and interprets, fictionalizes and exaggerates his folklore material accordingly. The author most likely talks about witches and witch women in every disguise as Catwomen, which occupy a wide place in our folklore and fairy tales, in accordance with his own argument.

Werewolf in history

A werewolf attack.

Ancient Greeks and Scythians who settled on the northern shores of the Black Sea considered the Neurians as magicians. Every year these extraordinary sorcerers They believed they had turned into wolves for a few days. The ancient Greek Herodotus, who lived in the 5th century BC, who is described as the father of history, talks about a human species that can easily turn into a wolf or a human whenever they wish.

According to one view, centuries ago, in the early history of humanity, the werewolf was considered a creature that unnaturally hungered for human flesh. With the help of various spells, this human had found a way to transform into a ferocious wolf at will.

According to the ancients, a person who turns into a wolf preserves the human voice and human eyes. But he had the strength and cunning of the wild four-legged wolf. It was possible to recognize who the werewolf was from his voice and eyes.

The phenomenon of transforming into a wolf by transforming is mentioned as a magic work in Roman literature. M.S. Virgil, who wrote a work in the 1st century, is the first Latin poet to talk about this myth. This was followed by Propertius, Servius and Petronius. Petronius, MS. Between 54 and 68, he was the palace entertainment director of Nero period Rome. His book Satyricos also includes a werewolf story full of satire, adventure and fantasy.

In the ancient Greek and Roman tradition, the transformation of a human into a wolf is symbolized as a punishment. Such an event M.S. Plinius, who lived in 64-113 BC, described the following: "In one of the rituals of human sacrifice to the gods, the victim is taken from the shore of the lake. However, the victim escaped and swam to the opposite shore. When he landed, he turned into a wolf. For the next 9 years, he wandered around the countryside with a group of people. If he did not approach human flesh, he would become human again. Indeed, he survived, but lived 9 years of his life as a wolf."

The story of someone who turns into a werewolf as punishment for his sin, 43 BC-AD. It tells of Ovid, who lived between 18 BC. In his long poem Metamorphoses (Changes), he talks about miraculous changes from creation to Caesar. The Roman poet Ovidus tells the story of Lyeaon, the mythical king of Arcadia: "The Olympian Jupiter, the god of gods, goes to dinner in his palace in disguise to try Lycaon. Lycaon also offers a meal of human flesh to see if he is a god. When Jupiter understands this, he goes to dinner in his palace. As punishment, he turns Lycaon into a wolf, and he stays in that identity forever and strikes fear into the environment." Around the 4th century BC, Plato and A.D. In the 2nd century, Pausanias also met at the same point by telling almost the same kind of change stories.

15. In the 16th and 16th centuries, the belief in becoming a werewolf was equated with witchcraft and witchcraft throughout Europe. Anyone suspected of being a werewolf, especially in France and Germany, was mercilessly burned or hanged.

As a matter of fact, werewolf hunting was done in the name of religious feelings. The sorcerer and "werewolf trials" are described even today. For example, it is known that for more than 100 years, in the years 1520-1630, France was shaken by about 30,000 werewolf incidents.

Various examples of werewolves

In Dole, near Dijon, France, in 1573, a "werewolf" named Gilles Garnier was accused of destroying the village and "eating" small children. When he confessed to his crime, he was burned at the stake.

In 1598, in a desolate and wild area near the Caude, also in France, several French villagers found the body of a 15-year-old boy. The boy was horribly dismembered and blood was gushing all over him. A pair of wolves was also eating the body. Seeing villagers in the distance, they fled and disappeared into the woods. The villagers followed the "wolves" and found a crouching, half-naked man in a bush. He had long hair. He had a long, unkempt beard, and long, dirty nails that looked like claws. Coagulated blood and pieces of human flesh could be seen among them. The man was a psychopath named Jacques Rollet. Villagers came and dismembered the body before fleeing. Actually, there were no wolves. The men may have perceived this mentally ill man as a werewolf in their excited state at that moment. But it was impossible to understand it. But one thing was certain, Rollet felt like a wolf. While under the influence of this delusion, he had devoured many people. Ultimately, he was sentenced to death. But the Paris Court overturned the decision. He sent him to a mental hospital. This was a place where werewolves who were not executed were confined.

20. century

Although the events related to werewolves are not as intense as before, such events are mentioned from time to time. For example, it is claimed that three werewolves were captured shortly before World War I.

In 1925, the people of a village near Strasbourg, France, testified that a boy from the village was a werewolf. Five years later, a werewolf struck fear in Bourg-Ia-Reine. Pierre Van Peasen referred to this event in his book, Days of Our Time, published in 1939.

In 1946, the Navajos, one of the oldest Native American tribes in North America, were called "four-legged animals". r killer". This strange creature always appeared at the time of the full moon.

In 1949, a police team in Rome was tasked with tracking down a strangely behaving man. The man was in werewolf psychosis. He regularly lost control at each full moon and howled eerily.

In 1957 in Singapore, police were assigned to monitor a similar incident. Because it was claimed that a werewolf was constantly attacking a girls' boarding school. One of the girls opened her eyes one night, sensing the presence of someone standing by her bedside. In front of him stood a terrifying-looking man with long, sharp teeth, with hair down to his nose. But the mystery behind the event could not be solved.

In 1975, British newspapers were flooded with extraordinary reports of a 17-year-old teenager living in the Staffordshire village of Ecceshall. The boy believed that he had turned into a werewolf. He ended these mental pains with a 'Silver Bullet' that he shot into his heart. One of the young man's relatives said: Shortly before he died, he phoned me. He said that his face and hands changed color and gradually turned into a werewolf. Soon his voice gradually turned into a growl."

Lycanthropy

Serial murder has always existed. The terminology used to describe the crime of serial murder has changed over the centuries. Four hundred years ago, murderers would travel across Europe killing their victims with bestial greed. Back then, they were not called "Psychopaths" or "Murdering maniacs" or "Lust killers". They were called Lycanthropy. This expression was formed by combining two Greek words, Lykos (Wolf) and Anthropos (Man).

Some of these serial killers were such perverted men that they actually believed they were with the supernatural beast. The villagers they hunted already firmly believed in this. Likewise, the authorities openly believed in lycanthropy and regarded it as the most important social problem of the time.

In older movies like the 1941 classic Werewolf, Lycanthropy is portrayed as a terrible curse. Lon Chaney Jr doesn't like to turn into a werewolf, but whether he likes it or not, with every full moon his hair and claws begin to grow and his teeth begin to sharpen. Sixteenth-century people looked at things differently. Werewolves were viewed as villains who deliberately entered into a pact with the devil. They wanted to turn into the beast themselves.

A French hermit named Gilles Garnier in the late 1500s is rumored to have made such a diabolical pact. In return for the deal, Garnier received an ointment containing black magic that turned him into a hungry, man-eating wolf. At about the same time, a German named Peter Stubbe sold his soul for an enchanted belt that supposedly gave him werewolf powers.

The methods of transformation may have been different, but the crimes committed by these two maniacs were strikingly similar and equally disgusting. It was far scarier than the fake horrors of werewolf movies. Both Garnier and Stubbe were lust killers and cannibals, often preying on children. Within two months, Garnier had attacked four small victims and tore them apart with his bare hands and teeth. Over a longer period of time, Stubbe had killed at least five victims, including his own son. Stubbe reportedly smashed his son's skull and ate his brain after severing his neck.

Modern psychiatry has presented us with concepts such as "Anti-social personality disorder" instead of the medieval werewolf. But even in this century, the occasional murderer appears, and his crimes are so grisly that it may seem like the work of a supernatural monster. For example, in the 1920s, Albert Fish, a cannibalistic killer, tricked a twelve-year-old girl into an abandoned house called Wisteria Mansion, killed and dismembered her, and cooked and ate some of her meat. When this crime surfaced, the tabloids put a lot of thought into coming up with a striking name to identify the person who did it.

Among other nasty names they came up with, they called him the "Wisteria Werewolf".

This article is part 184-185 of the A to Z Encyclopedia of Serial Killers. taken from the page. For detailed information about the book, please use the internal link.

"Erbörü" in Turkish folk culture

Erbörü is the name given to the werewolf in Turkish folk belief. The person who turns into a wolf at the full moon. The Scythians believed that some extraordinary sorcerers turned into wolves for a few days each year. "Eşbörü" is used for female ones.[1]

Boris Vian's Werewolf

The story of the wolf that turns into a human at full moon, told by Boris Vian, is a very good alternative to various Werewolf stories.

Werewolves in Buffy the Vampire Slayer

Werewolves first appeared on Buffy the Vampire Slayer in the episode Phases, when Oz discovered he was a werewolf. Buffy the Vampire Slaye In the world of r, werewolves only turn into wolves for three nights at a full moon. The human side of the creature does not remember what happened when it turned into a wolf. For a human to turn into a werewolf, they must be bitten by a werewolf. Oz had been bitten by his cousin Geordie. When her lover Willow and her friends learned about Oz's uncontrollable alter ego, they decided to help him. He locks himself in a cage in the library during the three nights he turns into a wolf. In the episode Lover's Walk, Oz's scent of Willow from far away shows that he also has werewolf senses in human form. Werewolf hunters use silver bullets to kill them. In the episode Phases, Buffy tried to convince a hunter named Caine that the wolf she was trying to hunt was actually a human.

Mummy (Arabic مومياء) is a corpse that is kept intact by preventing decay by applying various processes.

The tradition of mummification is left over from polytheistic religions. The first examples were found in Ancient Egypt in the 15th century BC. Since the Egyptians believed that the souls of their dead would be resurrected and returned to their bodies in the next world, they attached great importance to mummification in order to keep their bodies intact. In this mummification method called embalming, drugs that are not known in detail today were used. Except for the heart and kidneys, the internal organs and brain of the dead were removed (through the nose with a special tool). Mummies were placed either in stone sarcophagi or in oiled wooden coffins to prevent decay. Apart from medicine, the Egyptians used resin, sawdust, pitch and cloth, sodium carbonate and oil in embalming. The Egyptians also mummified animals such as cats and dogs in addition to humans. The mummification tradition, which is seen in many communities that maintain shamanic traditions, is still maintained in some parts of Africa.

A haunted house is a place believed to be inhabited by supernatural and often malevolent ghosts and elves.

In parapsychology, it is called the places where events such as seeing phantoms (ghosts), moving things spontaneously, or hearing some sounds that cannot be understood are frequently observed. Experimental spiritualists and parapsychologists explain the uncanny place phenomenon in different ways.

Today, parapsychologists examine the haunted house phenomenon under the name of "spontaneous psychokinesis."

According to the neo-spiritualist view, the causes of uncanny phenomena vary, but in uncanny phenomena, it is usually a sensitive person's perception of image-laden vibrations with his electromagnetic field, once left by someone else. In other words, what is thought to be a ghost consists of a psychic perception, it is not real, but the perception of events that happened in the past. In the uncanny place events where the psychokinetic phenomenon occurs, these psychokinetic events occur again thanks to that person's physical mediumship ability. In the absence of a sensitive person, that is, a human being, disembodied beings cannot do anything on their own.

Slasher is a subgenre of horror movies, in which a psychopath stalks people and kills them, usually with sharp instruments. Although the term "slasher" is sometimes used informally as a general term for any horror film that includes murder, experts of the genre note that these films have a distinctive characteristic that sets them apart from other horror subgenres such as splatter films and psychological horror films.[1]

Some critics cite Italian giallo films and the British psychological thriller or psychological horror film Peeping Tom (1960), directed by Michael Powell, and Psycho (1960), directed by Alfred Hitchcock, as examples of the first influential "slasher" films. [2][3] and most critics state that the genre peaked with American films released in the 1970s and 1980s. With Tobe Hooper's The Texas Massacre (1974), John Carpenter's Halloween (1978), Victor Miller and Sean S. Cunningham's Friday the 13th (1980), Wes Craven's A Nightmare on Elm Street (1984) and Don Mancini Tom Holland's Child's Play (1988) is one of the classic slasher films. Wes Craven's satirical film The Scream (1996) rekindled audience interest in the genre, and several original slasher film series were remade after the release of The Scream.

There is a subgenre of torture movies. The name of this subspecies is "teen-slasher". "Teen slasher" is a movie in which teens are often killed or killed in turns.

In the Abrahamic religions, Satan (Hebrew: שָּׂטָן, romanized: Śāṭān, lit. "enemy"; Arabic: شيطان Šạitan, lit. "heretic"), rebelled against God and abandoned his path, everything and everyone he created He is an angel who has declared war for him. He is considered the chief perpetrator of evil in the world in Judaism, Christianity, and Islam.

The word demon is often used synonymously with Satan. many on earth In religions and mythologies, Satan is generally thought of as a being with supernatural powers, constantly trying to turn people away from religion, and therefore from the orders of his creator, from things such as kindness and cooperation. In addition to this, there are also beliefs and movements that worship Satan or glorify Satan. The most common of these currents is Satanism

Latin for "Diábolus, Diaboli", Spanish for "Diablo", Greek for "Diabolos", "Lord of Darkness," "Beelzebub" (The Fly King), "Belial", "Mephisto" or "Lucifer" ' means "Satana" in Russian, "Yek" or "Albız" in old Turkish. It is referred to as "Samael" in Kabbalah philosophy. However, in Jewish belief, Samael is another angel. Also known as "Iblis" (Arabic: إبْلٍيسْ) in Islam. Satan is also called "Azazil".

Contents

1 History of origins
2 Abrahamic religions

2.1 Judaism
2.2 Christianity
2.3 Islam
2.4 Ezidism
2.5 Baha'ism

3 Other religions

3.1 Ekankar
3.2 Satanism

4 The Devil in Literature
5 See also
6 Notes
7 Bibliography
8 External links

Originology history

In Abrahamic religions, Satan is portrayed as the incarnation of evil.
Set figure turned into a demon

In ancient Egypt, the god of storm, darkness, and chaos Set (Seth, Setesh, Sutekh, Setekh or Suty) was defeated in the war with Horus, the god of the sky, and exiled (expelled) into the desert and became a symbol of evil.

As hieroglyphs:
Seth

[sw] [W] [t]
[x] [E20] [A40]

[s] [t]
[S]

[z]
[t]
[X]

It is thought that these and similar beliefs and idioms (eg, the phrase Amin) were transferred to Hebrew during the Hebrews lived in Egypt. The root of the Hebrew word "Satan", which means "dissident, corrupter, and defeatist", means "conspiracy". It passed from Hebrew to Latin and Greek, and from there to other western languages.[1] In Arabic, "setane" is used to mean "distance from mercy, away from truth". Later, under the influence of Persian religion, the image of "devil" turned into the concept of evil spirits. According to Persian religion, Ahrimen created six more demons, who are the enemies of the good spirits of Ohrmazda. This led to the idea of angels opposing demons.[2]

In the book of Enoch, you find Satan as an angel of God who punishes sinful humans and demons. He and his angels act as seducers, accusers, and torturers.[3]

He listens to Abraham
Judaism

In the Old Testament, Satan is not a feared creature as in Christianity and does not form the basis of evil. Because there is a belief in Judaism that both good and evil come from God. For this reason, one should be careful against the tricks and deceptions of Satan, who is called Satan or Samael.

Again, according to the Talmud, Bava Batra Chapter, Daf 16a:
(הוא שטן הוא יצר הרע הוא מלאך המות הוא שטן דכתיב)
Satan, evil impulses and the Angel of Death are the same personalities.

In Judaism, demons are only identified with yetzer hara (evil disposition). The Midrash sometimes explains this as caused by an angel. It is thought that such angels incite people to sin, accuse them in the heavenly court, and destroy people if they are found guilty.[4] While the leader of the accusing angels is Samael, the leader of the angels of the tomb is Dumat.

Christianity

Satan has also found more place in the New Testament and in the Christian faith. In particular, he constantly provokes Jesus. But the source of Satan's personality is Christian literature, not the Bible. An epic poem by John Milton describes how Satan was an angel of the highest order, a personality that turned into enmity towards the god who created man and himself. However, Satan is definitely not a person trapped in Hell, on the contrary, he can enter and exit anywhere he wants - even Earth and Heaven. With these characteristics, Satan's ultimate goal is to deflect humanity from the path of its creator. In this sense, he tries to make himself accepted as a rival to God. He has been given a time and awaits the outcome of his war against the creator until this time expires.

In the Creation (Genesis) part, the figure of the snake that provoked Adam and Eve was later evaluated as Satan by the Christian scholars, contrary to the expression in the Torah. According to the Eastern (Orthodox) Church, Satan is one of the three enemies of man (the others are sin and death). In all Christian beliefs, Satan will wage a final war (Armageddon) against Jesus and God in the figure of Jesus. This war will also show that the time given to Satan (aeonios) is nearing its end. According to the Unitarian Church, when this time comes, Satan will be good again and regain his angelic qualities. How this period works differs in each church. As a result, the world is purified from all demons and just like Heaven, it turns into a speedy place.

In the Middle Ages, the Devil was depicted as a goat with a beard and horns, with a fork in his hand and a tail. The reason for the formation of this image is not the Bible, and it is caused by some god figures (Pan, Dionysus) symbolized in pagan beliefs before Christianity.

Jehovah's Testimony

Jehovah's Witnesses believe that Satan was created as an angel with perfect spirit qualities; but they believe that Adam and Eve were turned into Satan by trying to get them to obey him instead of the god Jehovah. They believe that over time, Satan became proud of his beauty and began to see himself as a god, thus making himself a rival to Jehovah. To understand the word Satan more precisely, it should be kept in mind that the word "Satan", an angel of the cherub class, means "Opposing". Satan got this title because he tried to resist God's purpose. The name of Satan is not the proper name of this being.

Satan says in the "Garden of Eden", "-But don't eat from the tree of the knowledge of good and evil. For the day you eat from it you will surely die." By saying that, he provoked Eve to eat the forbidden fruit and made her disobedient by lying. While doing this, he made a snake speak like a puppet with these words: "-You certainly will not die," said the snake, "-Because God knows that when you eat the fruit of that tree, your eyes will be opened, and you will become like God, knowing good and bad.". In this way, they believe that when Satan tempted Adam and Eve to disobey god, it was not just a matter of eating a fruit, but challenging the god Jehovah's right to rule over people. They believe that God, Jehovah, gave Satan a period of 6,000 years (six days according to God) because of this case he brought up. They believe that the cases brought up by Satan include:

Satan's saying, "For God knows that when you eat the fruit of that tree, your eyes (understanding) will be opened, and you will be like God, knowing good and evil." according to his words; Satan claimed that Jehovah's rule over humans was unjust. Satan claimed that humans could rule themselves better and make Earth a Paradise place by their rule without Jehovah's interference. Therefore, according to Satan, Jehovah should allow humans to govern themselves.
According to Satan, there is not a single person who is truly loyal to God. Loyal people remain loyal only when conditions are good for them. If various tribulations befall these faithful people, they will cease to be faithful to Jehovah. He claimed that he should be given an opportunity to prove this.

Jehovah's Witnesses believe that Jehovah did not immediately destroy Satan because of these trials, and that if he were to destroy Satan immediately, he gave Satan a temporary leave, knowing that doubts would arise in the minds of all his creations as to whether he was right. . Also, that God allows evil by allowing Satan and human rulers; because they believe they know it will have bad consequences. They believe that Jehovah will prove the invalidity of Satan's claims based on these bad results.

The biblical "Sovereign of this Earth will now be cast out." and "I will no longer speak to you at length. For the Sovereign of this Earth is coming. He has no authority over me." According to his words, Jehovah's Witnesses believe that Satan ruled the Earth from behind the scenes for a period of 6,000 years until these cases were settled. And when Satan is doing this, "No wonder. Satan also pretends to be an angel of light." According to their words, they believe that Satan often deceives people by posing as a benevolent angel. Jehovah's Witnesses believe that at the end of 6,000 years, Satan will be thrown into an "abyss", left inactive for 1000 years, and then destroyed forever after 1000 years. They believe that in this 1000-year period, the things that Satan has corrupted will be compensated. This compensation, according to Jehovah's Witnesses, is the restoration of Paradise on earth and the resurrection of many of the dead to live in this Paradise.

Islam

See also: Demon

The word "devil" is used more (88 times) than "Iblis" in the Qur'an.

In Islam, "Demons" are evil spirit beings who support Iblis. According to most of the commentators, they were created after Satan's expulsion from the sky (from semum fire) and acted like his willless servants. They are always the opposite of evil-doing angels. Used singularly, a synonym for Iblis. According to the Qur'an, devils enter people's minds by whispering their hearts.[5] These whispers are called "Waswasa". The devil, who does not listen to him in the heart and mind of man, keeps him in constant conflict, never calms his mind and heart; second in person He acts like a person and tries to seize him with his delusions.[6] With the absolute dominance of the evil side, which is constantly chasing evil and coding the person it has captured, in this direction, a person can become completely demonized. The Qur'an deciphers these types as human devils. It is the weakness of will, hopelessness, not knowing what to do, indecision and doubt in man that activates the devil in man. As soon as these mental states in a person are active, the actions and movements of the person turn into acts of the devil.[7]

In the hadiths, apart from the Throne of Allah, the Prophet saw Gabriel sitting on an throne (throne) between the sky and the earth, Satan has a throne on the sea (or water) like Allah's throne, and is surrounded by snakes. It is said that the devil gave orders to his assistants from here to deceive people and released them to the earth.[8]

When the call to prayer is recited, the devil turns his back to avoid hearing the call to prayer and runs away with the zart. When the azan is over, it comes back again. When he is iqamat, he turns his back again and runs away. When it is over, it comes back and comes between the person and his nafs. He reminds him of things that were not in his mind before the prayer by saying remember such and such a thing.[9]

According to the Qur'an, devils enter people's minds by whispering.[10] Like jinn, devils are also created from fire.[11] But demons do not enter heaven. The habitat of demons is hell.[12] However, demon leaders can turn into an angel again after the "Judgment Day" and leaving other demons behind.[13] The idea of Iblis giving up his followers is also seen in the Qur'an during the "Battle of Badr".

In the same way, we made human and jinn devils enemies to every prophet. They whisper gilded words and make suggestions to deceive believers. If your Lord had willed, they could not have done it. In this case, O Prophet! Leave those unbelievers alone with their lies and slanders."

Surah An'am, Sura 6/Verse 112[14]

There are different kinds of demons in Islam as well. Ifrit, considered a powerful class of hell-demons and drawn to the life force of the slain victims. Marid who made an effort to the heavens, but was thrown by the angels.

Ezidism

There is no Satan figure in Yezidism, as in Judeo-Christian and Muslim.[15] The presence of a demon will cast doubt on God's omnipotence, so anything demonic is denied. However, some Christians and Muslims blamed the Yazidi worshipers of Satan, as there are some similarities between Melek Taus and Iblis/Lucifer. Similarly, Iblis in Lucifer in the Christian Apocrypha or in the Qur'an refused to prostrate before humanity, he refused to prostrate and do before humanity to the Angel Peacock. In the Yezidi view, however, this demonstrated the loyalty of Melek Taus.

Vampire culture is based on examples from Babylon and is the subject of extensive folkloric historical studies examining its evolution over the centuries. Legends of blood sucking and resurrection spread in the Middle Ages. Walter Map, a Welsh clergyman in England in the 1200s, claimed that a vampire killed an entire village by sucking their blood. According to Map's claim, the last survivor in the village drew his sword and split the bloodthirsty hell creature's head up to the neck of his neck and ended the danger.

Scientists who believe in the existence of vampires summarized the characteristics of vampires determined by them as follows: They feel the least amount of pain, there are light pits and scars based on bruises on their bodies, especially on their faces, their eye colors are constantly changing, and the two eyes are never the same color. Unexpectedly, they can react so quickly and so strongly that you may not even notice. Skin temperatures are constantly changing. They are not affected by daylight (the idea that vampires perish in sunlight is a modern popular culture idea introduced in Friederich Wilhelm Murnau's film Nosferatu, A Symphony of Horrors). They can read minds, so it's almost impossible to resist them. They never reveal their intelligence and strength in a way that can be understood by an audience. As mentioned, canine teeth are not of interesting size.

Myths of vampires were created in various societies, not just in Christian Europe. Some women in India believe that they are attacked by bloodthirsty demons while they sleep. B.C. An example of this belief is Vikram and the Vampire, a collection of stories and legends estimated to have been written around 700 BC, originally translated from Sanskrit into many languages and local dialects. Tales of 1001 Nights contain stories about female vampires. The Ovengua genie in the Camma tribe of New Guinea or the Buau in the Dayak tribe on the island of Borneo are creatures based on similar beliefs.

Historians suggest that the word vampire is derived from Serbian, Polish, or Turkish. This legend is revealed and vampire hunts Voltaire, the famous philosopher of the Enlightenment in the 1730s, when it was held, comments on the subject as follows: “The real bloodsuckers are not in the graves, they are among us. Stock market speculators, traders and businessmen suck the blood of the people every day. They certainly don't die, but they rot while they live." Karl Marx's approach to the subject is as follows: “Capital is dead labor. However, it comes to life in a vampire way by the absorption of living labor. The more it absorbs, the more it comes to life.”

In the 1820s, a critic proclaimed, "There is no theater without a vampire." With the story "Carmilla" written by the writer Sheridan Lefanu in 1872, vampires took a woman among themselves for the first time and derived the word vamp.

Irish writer Bram Stoker collected all the myths of the genre in his 1897 work "Dracula" and created the best classic on the subject. This book caused the vampire legend to spread to the cinema. German expressionist director Murnau made the first vampire movie in the history of cinema with his famous classic "Nosferatu" in 1922. Vampires were one of the hottest topics in Hollywood in the 1930s. The most well-known vampire actor in cinema was Christopher Lee. Over time, vampires evolved from lurking monsters to elegant, seductive, beautiful creatures. Francis Ford Coppola interpreted the life of vampires as a tragedy in his original adaptation of Bram Stoker's novel. In the Twilight series of novels Stephenie Meyer began writing in 2005 (and with film adaptations beginning in 2008), vampires have been promoted from monstrous to heroic.

Vampirism in terms of science

Bram Stoker

According to the research conducted by Wayne Tikkanen, a chemistry professor at the University of California, it has been determined that the main cause of vampirism is Porphyria disease. In the 1700s, the Europeans, who did not know about the disease, were condemning the patients as vampires. Explaining that with the progression of Porphyria disease, which is a kind of blood poisoning, the skin weakens against infrared rays and therefore darkens, Tikkanen said, “The patient has abnormal hair growth. Teeth appear as the lips dry and recede. The patient suffers a lot. Eventually he goes crazy.” He explained the disease. Stating that these patients can only go out at night due to the sensitivity of their skin, and that they drink animal blood for treatment purposes, Tikkanen said, "This is the answer to why vampires go out at night and drink blood in the stories." said.

However, other scientific sources are skeptical of the claim that porphyria gave birth to the vampire myth.

There are some inconsistencies between the legends told with the disease. First of all, there are many types of portifica, and only the rarest of them cause skin disorders. These disorders are not only recession of the gums, there are also symptoms such as cracks in the facial skin, falling of the nose or fingers. It was not mentioned that people who were removed from their cemeteries in the Middle Ages had such extreme image disorders. In addition, there are 200 cases of the disease registered to date, which is not a large number to cause such a great myth.

It was first said by novelists that vampires could not come to the light of day. However, there are rumors that 18th and 19th century vampires were also encountered during the day. Also, although Dracula has very white skin, there are legends of vampires in the Balkans who are depicted as "red cheeks". Akasha from Queen of the Damned is brunette.

The human body breaks down every nutrient that enters the digestive system into the smallest building block and makes its own molecules from it. It cannot provide that complex molecule needed by patients with portifia by drinking blood. In addition, the presence of substances in garlic that will increase the effects of portifine has not been proven.

It is thought that another disease that was more common in the middle ages may be the source of these beliefs. In this disease, the person faints for a long time. He is conscious but cannot control his body. After a while, the patient sows/wakes up, probably in a coffin. Although this disease is rare, it is still seen today. A woman on the Discovery Channel described waking up in the morgue three times.

Perhaps there is no need to seek an explanation for this myth so far. There is also the possibility that the main protagonists of the key legends are the dead. The skin of the dead is already paler. The veins that burst due to the pressure, usually at the sides of the mouth, give people the impression that the dead person is sucking blood. After death, hair and nails appear to continue to grow as the skin recedes, causing the person to be considered still alive.

Vampire beliefs in Turks

Although it is not frequently encountered in Turkish folklore, there are records that have entered the literature of the West. (Events such as the vampire-witch connection and the Cihangir vampire in the 1970s, which entered the criminology records, are also age-old.) mentioned)

Professor Arminius Vambery, one of the faculty members of Budapest University and the founder of the oriental academy in 1884, also mentions some vampire beliefs in Turks in his autobiographical book "Arminius Vambery: His Life and Adventures". According to Vambery, who traveled to Central Asia in the guise of a dervish to investigate the roots of the Hungarian language: "According to a common belief in the Ottomans, vampires hide in tree hollows and hunt there. Captured vampires were put in a sack and thrown into the sea after their heads were cut off.”

"Witches are the resurrected dead," explains Prof. Pertev Naili Boratav and adds “Many people are believed to be witches, but there are documents that prove that there are also men who become witches. The witch in the Turkish tradition more or less meets the vampire in Western beliefs. Witches would take the fresh dead from the grave and eat their livers. As we learn from a Rumelian account, there used to be expert witches who rendered witches harmless.”

Mehmet Seyda presents an interesting document proving the witch-vampire relationship emphasized by Borotav and witch-makers: The following article was sent to the government headquarters by Tırnova judge Ahmet Şükrü Efendi in 1833 and was published in the 68th issue of the Gazete-i Vekayi newspaper:

“Witches have sprung up in the tarnock. After sunset, it began to haunt houses. He mixes things like flour, oil, honey about Zahir, and sometimes he mixes them with soil. He picks up the pillows, quilts, mattresses and bundles he finds in the closets, opens and distributes them, throwing stones, earth, pottery and pottery on people, and no one can see anything. He attacked several women and men. They were called and asked: "We thought it was as if a buffalo had collapsed on us," they said. For this reason, the people of the neighborhood moved their houses to another side. The townspeople agreed that these were the work of evil spirits called witches. A man named Nikola, who is known for witchcraft, was brought in the town of Islimye and bargained with him for 800 cents. This man had a picture board in his hand. He goes to the cemetery, turns the board on his finger, and whichever grave the picture looks at, the witch is the evil spirit in that grave. A large crowd went to the cemetery. When he started to turn the picture board on his finger, the painting stood against the graves of Tekinoğlu Ali Alemdar and two shamans called Apti Alemdar, one of the bloody tyrants of the Janissary corps. The tombs were opened. The corpses were found to have grown by half, and their hairs and nails had grown by three or four. His eyes were bloodshot and he was terrifying. The whole crowd in the cemetery saw this. These men had done all kinds of dirty and ugly things while they were alive, attacked rape, honor, property, killed people. As if what they had done in their health was not enough, they were now plaguing the people as evil spirits. According to the description of the Witcher, Nicholas, a wooden stake was driven into the navels of the corpses and their hearts were scalded with boiling water to exorcise such evil spirits. The bodies of Ali Alemdar and Apti Alemdar were exhumed. A wooden stake was driven into their navels and their hearts were scalded with a cauldron of boiling water. But it had no effect. "These bodies must be burned," said the witch. In this regard, permission was given in the Shariah and the exhumed corpses of the two Janissaries were burned in the cemetery. Thankfully, our town was also spared from the witch's evil.”

The event narrated by the Tırnova kadı is a vampire event in line with the literature of the genre. Although there are minor differences, she follows the classical witchcraft methods. For example, the stake is driven not to the navel, but to the level of the heart, and according to tradition, beheading the corpses is an effective remedy as well as boiling the hearts. It is thought that such unfounded rumors were put forward to mobilize the public against the undisciplined janissaries.[1]

Meçkey

Meçkey - In Turkish, Anatolian and Altaic folk beliefs, it means vampire with a meaning that overlaps with its equivalent in western languages. Also called mechik. It is a unique type of vampire in Turkish folk culture and folk belief. Although some aspects are completely unique to Turkish culture, there are also some features that are very similar to the beliefs of Western societies. For example, just like Nosferatu, it is believed to carry the disease of "tagun" (i.e. plague). It sucks the blood of people, grows in them. She is thought of as a murderous hunchbacked old woman (or sometimes an old man). The word is related to the verb to reap (to cut). Mech means monkey in Mongolian, and Mes means weapon. Monkey-like creatures are frequently encountered in tales and myths among Turks.[2]

Far Eastern Vampire Beliefs

In Southeast Asia, there are generally beliefs about ghost-like creatures. These are said to be the spirits of those who died as a result of sudden and terrible deaths. Horror movies originating from the Far East are about ghosts who die as a result of trauma like these, do not want to accept their deaths and try to take revenge on the living. Bali, Malaysia, Indonesia, Philippines v e In Cambodia, some female vampire-like creatures (like the "red wife" said to haunt puerperant women in Turkish folklore) are believed, but they fall well outside the known vampire stereotype. They are better known as ghouls and witch-like creatures. They not only drink blood, they also feed on internal organs. Being able to split by dismembering their bodies, flying with bat wings, sucking blood with their long tongues, etc. It has features. It is often said that they are caused by young and beautiful women who either commit suicide or die in childbirth. There is no vampire belief, especially in Japanese culture. Vampires of Japanese origin are only found in manga and movies. In China, it is believed that there are zombie-like corpses resurrected by black magic, but these too are undead and have little to do with vampirism, except for their long hair and nails.

Vampire: The Masquerade

It is one of the popular RPGs created by White Wolf. The game takes place in a world that requires you to experience vampire activities without letting people know. People's knowledge of the existence of vampires must be hidden. For detailed information, see Vampire: The Masquerade.

Delphi Inscriptions: Selene, Goddess of Moonlight

It is not known whether the "Delphi Inscriptions", also known as the "Vampire Gospel" among those interested in mysteries, belong to the legendary Delphian oracle of Greek mythology or have historical value. One section of the inscriptions consists of a love story that sheds light on the mythological origin of vampires and how they emerged. According to this story, which proceeds in a different line from the story of the goddess Selene in ancient Greek mythology, the first vampire was created by Artemis, the goddess of the moon and the hunt. For the full text, see Delphi Inscriptions: Selene, goddess of moonlight

Carl Gustav Jung and the source of vampires

The father of psychiatry Carl Gustav Jung, in his theory of the collective unconscious, argues that humanity is a whole or in communication in a common psyche area or frequency. The collective unconscious has been shared by humanity since the beginning of time and includes primitive memories and exemplary attitudes, namely archetypes. These patterns affect people in various ways: they appear in dreams, dreams, religious beliefs, myths, art, and folklore. According to Jung's theory, vampires can also be interpreted as one of the archetypes in the collective unconscious. [citation needed]

Myth : Cain, son of Adam and Eve

Lilith

Caine at Wikisource
You can find text about.

And God Himself gave Kain his final and greatest curse, through Uriel's mouth:

"As long as you and your children roam this land, they will hold on to the darkness. They will only drink blood. They will eat only ashes. They will live as dead, but they will not die. Everything you touch until the last days will perish!"

With this curse, Kain let out a bitter cry, blood coming from his eyes. He filled the blood into a bowl and drank it.

When she lifted her head, Gabriel was standing in front of her. In the echo of the silence after the storm: "Son of Adam, son of Eve; my father's forgiveness is much greater than you think. Even now a path to forgiveness has opened. You will call this path "Golconda." Tell your children about it, because only this way will you be able to walk in the light again. "

Similar to the story of Emeş-Enten and Lahar-Aştan in Sumerian mythology, the story of Abel (Abel) and Cain (Cain), the first sons of Adam and Eve, is included in the Old Testament, which constitutes the first part of the Bible. taking. According to the story, only Abel's vow was accepted among the two brothers who made a vow to God, and Cain was cursed by killing his brother Abel out of jealousy, and had to wander the earth without stopping until the Day of Judgment. When Cain says that people who realize that he killed his brother will kill him, God leaves a mark on his body that shows that he is cursed, and says: "Whoever kills Cain, vengeance be upon him sevenfold." Thus, Cain wanders the world as the first murderer and the first immortal. As it is mentioned in the Bible, Cain also had children, he founded a city and named it after his son Enoch. Today, this city is believed to be Urfa. The Qur'an also includes this story among the first sons of Adam without mentioning their names in the chapter of Maide.

The rest of the story of Cain is not found in the scriptures, but in some ancient books whose veracity is not accepted by the church, such as the book of Lilith or Enoch. According to these sources, it is said that Cain was deprived of his mortal soul in order to be punished for his actions, and that he could not eat worldly blessings like other mortals. It is stated that Cain later reunited with his first wife Lilith, who was exiled because Adam refused to submit to her, and settled in a city called Nod near the Red Sea. nightmares in Hebrew mythology It is believed that Lilith, the queen and mother of all demons, gave her own blood to keep Cain alive, who could not eat anything, thus creating the first vampires of their own lineage. Today, references to Cain or Lilith are made on the basis of many vampire stories.

Vampirism in Religious Texts: The Betrayal of Judas

Judas Iscariot, known as Judas Iscariot (Iscariot means murderer in Latin), is also believed to be the first vampire mentioned in the Bible. According to traditional vampire belief, it is thought that the reason why vampires show sensitivity to the cross and silver is based on this story. According to traditional Christian belief, Judas was an apostle who betrayed Jesus and betrayed him for thirty silver coins. Although there are many different beliefs about how Judas died, the most well-known of these is Judas' suicide by hanging himself out of guilt and fear when he saw Jesus on the cross. On the other hand, the word "vampire" is never used in the Bible or other holy books.

For vampire beliefs in different cultures and beliefs, see Vampire Gods

Vlad Tepes

Portrait of Vlad Tepes
People impaled

III. Vlad, also known as Count Dracula, was brought to Edirne in 1444, when he was 13, with his brother Radu to be a devshirme. In 1447, his father, II. After Vlad Dracul and his older brother Mircea died during the war with the Hungarians; II. brought to the head of Wallachia by the Hungarians. He was released in 1448 with an army to overthrow Vladislav. His brother Radu prefers to stay with the Ottomans. Vlad, the enemy arm of the royal family, II. He overthrows Vladislav, but in his second month on the throne, he is exiled to Moldavia by the Hungarians, II. Vladislav takes over again. Three years later, in 1451, he returned to Wallachia, taking advantage of the murder of the Moldavian prince Bogdan. During the period II. Vladislav betrayed the Hungarian commander János Hunyadi and went to the Ottoman side. It's up to Dracula to take the side of the Hungarians. In 1456, János Hunyadi embarked on the second Serbian expedition, while Vlad embarked on the second Wallachian expedition, II. He kills Vladislav and takes over. After this incident, his famous tortures begin. It is said that one of the first things he did as soon as he came to the throne was to gather the beggars and the poor, to give them a meal, and then to burn them alive, so that there would be no poor people in his country. During his six-year reign from 1456 to 1462, women and children; According to some sources, more than 40 thousand people, according to others, more than 100 thousand people were killed. In 1462, when the Ottoman Empire annexed Wallachia, he was forced to flee, and the Hungarian King, for whom he was waiting for help, was thrown into a dungeon. The Ottomans bring Radu, the brother of Vlad Tepes, to the head of Wallachia. Radu remains on the throne until 1473. In the two years until his death in 1475, the rival family changed hands six times between the elder Basarab and Radu of the Danesti. Basarab's reign, who remained on the throne for a year and a half after Radu's death, was disrupted by Vlad Tepes, who succeeded in getting the support of the Hungarian kingdom and went on the 3rd Wallachian campaign. Kazıklı ascends the throne for the third time with the support of the Moldovan and Transylvanian armies, but only for two months like the first. Taking advantage of the armies' movement to Transylvania, the Ottomans overthrow Kazıklı. Rumor has it that he was killed and his head was brought to Istanbul, and his body was buried in a monastery in Snagov. However, during the excavations carried out in the monastery in 1931, the tomb was found to be empty. In 1897, Bram Stoker resurrected the Impaler under the name Count Dracula in his immortal work Dracula.

Elizabeth Bathory

Elisabeth Báthory

Comes from the Bathory family, one of the most famous noble families of the Kingdom of Hungary, Countess Elizabeth Bathory and her daughter Galilee are undoubtedly at the top of the list of the most notorious women in history. Bathory holds the title of the world's most famous female serial killer because of the horrific murders she committed during her 54-year life. After the death of her husband Ferenc Nádasdy, to whom she was married at the age of 15, Bathory was held responsible for the torture and murder of hundreds of young girls along with her accomplice servants, and spent the remaining 4 years of her life confined to a small room in her own castle, Csejte. While his assistants, whose murders he had personally committed, received gruesome punishments, Bathory was neither brought to trial nor convicted of the crimes in question, as he was a noble. On the other hand, it is forbidden to even mention the name of the countess, who was left to be forgotten in a room with a brick door in the castle of Csejte. The rumors that Bathory bathed in the blood of virgin girls in order to preserve her youth led to the belief that she was a vampire like Vlad Tepes, the prince of Wallachia, who can be considered a distant relative of her.

Erzsébeth Báthory, with her Hungarian name, was born in 1560 and spent her childhood in the castle of Ecsed. Hungary's Ottomans Bathory was brought up as a young Protestant girl who knew the Latin, German and Greek languages well. Like her cousin, the Transylvanian prince Stephen, who was notorious for her ruthlessness, Elizabeth suffered from sudden tantrums from childhood. Researchers believe it's a familial genetic disorder and that Bathory may have had epilepsy. Today's historians and psychiatrists state that Bathory also had a sexual identity disorder. Elizabeth, who became pregnant when she was only 14 years old, was said to be able to be with anyone she wanted, male or female. On the other hand, some of Bathory's relatives did not have a good track record. The fact that her aunt is a lesbian witch, her uncle a devil-worshipping alchemist, and her brother a pervert who fears being alone with her shows that Bathory is a bad enough example to emulate around her. On the other hand, if we add that her babysitter, who has been taking care of Elizabeth since childhood, is also a person who is engaged in black magic and does not hesitate to sacrifice small children in her rituals, it was almost impossible for Bathory not to turn into a serial killer in this situation. After her marriage, Elizabeth settled in the castle of Csejte, which was a wedding gift from her husband. The castle was surrounded by 17 adjacent villages and farmland and towered over the cliffs of the Lesser Carpathian mountains. Her husband's constant war and absence from home forced Bathory to deal with business and political matters. According to historians, Bathory was also quite successful in this regard. On the other hand, Bathory did not hesitate to brag about her beauty, spend time in front of mirrors and change clothes almost five times a day. Showing the cruelty that Bathory learned from her father and husband to the servants in her palace was her most ordinary occupation. It is also known that from the moment she thought she was getting old, she devoted herself to dealing with different spells in order to renew her skin.

On the other hand, there are rumors that Bathory took on the protection of helpless women in the war in the region. Bathory, for example, did not hesitate to display her political prowess for a woman whose husband was held captive by the Ottomans, or for a woman whose daughter was raped and impregnated. On the other hand, it is also known that the children of pregnant women were unintentionally aborted in a part of the castle. Bathory is thought to have done this, of course, in order to be able to kill more young girls. While she used to murder only peasant girls, her desire for blood after her husband's death makes this serial killer covet the daughters of the nobles as well. Thus, all of the girls he accepted to his palace to learn manners and manners disappeared into oblivion. On the other hand, kidnapping incidents in the region are also increasing. When the rumors around the palace came to light, György Thurzó, who was appointed by the king's order, comes to the castle to investigate and after an army of about 300 witnesses is heard, he is confronted with the terrible truth. It was another dreadful fact that the king had taken action because of Bathroy's debt to her husband and thus wanted to get rid of Bathory. To this day, those who have defended Elizabeth's innocence argue that she was the victim of a conspiracy by the kingdom and that she was punished for being a Protestant. Elizabeth Bathory gradually increased her torture methods, especially after the death of her husband. Psychologists claim that Bathory's mental illness, which increases as she ages, worsens during this period. Teenage girls who were tricked or kidnapped with promises of good pay were imprisoned and beaten until their bodies were unrecognizable, then burned or dismembered. It is also known that the victims were beaten to death, left to starve, burned alive, tortured with needles, left to freeze by pouring water on them outside in winter, biting their faces, arms and genitals, and being sexually harassed. It turns out that Bathory carried out these terrible tortures in all the castles he owned from 1585 to 1610. The number of victims of 650 people was reached from Bathory's diary and letters, which are believed to be still hidden in the government archives. Bathory wasn't particularly skilled as a serial killer, he used the advantages of being a noble to the fullest, but he wasn't careful enough to cover up the murders he committed. All this privilege only benefited him at the court stage, he was imprisoned for life in his own castle without trial. On the other hand, it was concluded that the king did not need to pay his debt to Bathory.

When Bathory was found dead in Csejte castle, her room contained many untouched utensils, so the exact date of her death cannot be known. His body, which was first buried in the garden of the Csejte church, was moved from here to be buried in the Bathory family cemetery in Ecsed as a result of the uprising of the villagers of Csejte. When Countess Bathory is mentioned Let's also mention that the blood bath that comes to our mind was added to this legend later. It is known that none of the witnesses testifying against Bathory mentioned a bloodbath and that it was merely fabricated in relation to Transylvanian vampire belief. Bathory's story has been the subject of many films with different perspectives or fictional events, as well as diluted and inspired the making of "Countess Dracula" and similar films.

Cannibalism or cannibalism is the act of consuming another individual of the same species as food. Cannibalism is a common ecological interaction in the animal kingdom and has been observed in more than 1500 species.[1] Human cannibalism is a well-documented behavior both in ancient times and today.[2]

The rate of cannibalism increases in nutrient-constrained environments, as individuals turn to their brethren to obtain an additional food source.[3] Cannibalism reduces potential competition, makes resources such as food, shelter, and territory more accessible, and regulates population numbers. Although this situation benefits the individual, it has been observed that the presence of cannibalism reduces the survival rates in the whole population and increases the rate of consanguineous consumption.[3] Other adverse effects may include the increased risk of pathogen transmission as the encounter rate of the individual with cannibalistic behavior increases with the host.[4] However, cannibalism does not have to occur simply as a result of extreme food shortages or artificial conditions - as was once thought. It can also occur under natural conditions in various species.[1][5][6]

The zombie is an immortal human in the Afro-Caribbean and Creole spiritual belief systems of voodoo. These folkloric zombies are the reanimation of dead human bodies with the aim of creating fear among the living through supernatural powers and shamanistic medicine. Scarier versions of zombies are frequently featured in horror movies using the element of cannibalism. Also, such beings have the same capacity as ghouls.

Zombies in Voodoo

A Haitian zombie in a sugarcane field

According to voodoo belief, the dead can be resurrected by a human or a Mambo. Because zombies have no consciousness or will of their own, they are under the control of Bokor or Mambo. Zombie is also the name of the voodoo snake god Niger-Congo. It is similar to the Congolese word "nzambi" meaning god.

During a survey of customs and traditions in Haiti in 1937, Zora Neale Hurston came across a rumor about Felicia Felix-Mentor, who died and was buried in 1907 at the age of 29. Villagers said that 30 years after her death, they saw Felicia walking the streets stunned and accompanied by several others. Hurtson pursued rumors that these people had been given very potent drugs, but could not find individuals willing to provide more information.

“ If science descends under the Voodoo in Haiti and Africa instead of the figures in tribal ceremonies, it will reach the power of some medical mysteries hitherto unknown to medical science.[1] „

He mentioned this issue in one of his articles with

sentences.

In the 1980s, Canadian ethnobotanist Wade Davis published two books on the pharmacological state of zombies; The Serpent and the Rainbow (1985) and Passage of Darkness: The Ethnobiology of the Haitian Zombie (1988). Davis went to Haiti in 1982 and as a result of his research there claimed that a living person could be turned into a zombie by ingesting two special types of dust. First, coup de poudre (French: 'dust bump') causes a dead-like state due to the substance tetrodotoxin (TTX) contained in it. Tetrodotoxin has the same properties as the poisonous toxin found in fugu or puffer fish, which is the food of the Japanese. A dose of 1 mg of this lethal substance can leave a person in a semi-dead state for days despite being conscious. The second powder (has a baffling hallucinatory effect) puts the person in a zombie-like state that acts unconsciously and involuntarily. Davis also popularized the story of Clairvius Narcisse, who had these experiences. There are still skeptical views on the authenticity and accuracy of David's work.

In some modern movies, zombies are not portrayed as living dead, but as sick people with an epidemic.

Zombies in popular culture

Zombies from the movie Night of the Living Dead

In popular culture, zombies are regularly encountered in horror and fantasy, fiction and entertainment. Zombies are often portrayed as decomposed corpses that are mindless, hungry, fond of human flesh, and in some cases, fond of human brains. As of 2009, zombies are popular. They can be compared to vampires in terms of them.[2]

According to the concept of zombies in movies, zombies are resurrected after they die and their brain functions are programmed only to satisfy their need for meat. It is enough to hit the head area hard to kill the zombies.

Political cinema or political cinema uses all political concepts, especially religion, state, politics, individual. In many films, the functioning of the state, the individual's confrontation with the state, moral problems, military service and war, patriotism, the state within the state, terrorism, totalitarianism, and the struggle for independence are covered.

Contents

1 Development
2 Attributes

2.1 Historical cinema
2.2 Ideological Cinema
2.3 Documentary Cinema

3 Publications on the subject

Development

According to Necdet Ekinci; "When approaching the event in this way, cinema is not only the presentation of a certain number of images to the audience. At the same time, it means the re-establishment of a common socialization with artistic cinema in the public sphere. Cinema has inevitably faced politics with its orientation to social events. Here is cinema. With the beginning of reflecting political events from his camera to the big screen, political cinema was born."

Political cinema makes use of various intermediary methods to transfer political events to the big screen. These methods have been determined as a means, not a goal, in the presentation of politics.

Attributes

Like every image phenomenon, cinema has taken on a unique role in the presentation of the political event. While fulfilling this role, cinema provides a different method in terms of political communication within the superiority of an artistic presentation. In particular, being with the audience gives rise to a powerful mediation. Thus, it results in the audience finding themselves in the role played by the actors, putting themselves in the actor's shoes, and integrating with him.

As in other image phenomena that develop in the public sphere, there is a commonality here too. In this way, cinema once again reconstructs the established origin of socialization. Today, cinema presentation has come to a traditional position. Traditional interesting events of social life are selected and made into films. In particular, the fact that each of these events has a quality that is closely related to the whole society causes it to become more socialized. As a result, every movie that is released makes a significant contribution to the creation of a public community for its audience.

Bernard Lamizet has gathered the methods used by political cinema in three categories as historical, documentary and ideology.

Historical cinema

Historical cinema, by considering the political event in time, adapts it to the stage by emphasizing social commitment and scientificity, instead of the fact that the event has been lived or not, in the double gap of a far-flung view.

Historical films bring the application of power to the stage together with the actors who are identified with the periods they are in.

An understanding of adaptation to a political event, in which the logicality of the presentation predominates, is dominant in historical cinema. Many times, people and events are exalted too much, and many unique narrative phenomena are loaded on the subject.

In historical cinema, artistic sublimation is reflected in the political situation, leaving its mark on the production of the film, especially on the political event. This feature of historical cinema is reflected in the political discourse and expression, which has been carefully prepared and exhibited a complex situation, and it spreads throughout the film and pushes the audience to think.

A good example of this situation is Austerlitz, which presents political absolutism in a critical approach and is about Abel Gance's 1960 war of Austerlitz. In addition, an analysis of Napoleon's power is made in the film.

The movie Ben Hur, directed by William Wyler in 1959, reflecting the Christian-Jewish conflict, which is considered to be one of the most expensive productions in the history of cinema, from the depths of history to the big screen, is another example in the confusion of political discourse and subject.

Eric Rohmer's 2001 film L'Anglaise et Le Duc (English Lady and Duc), which is one of the productions closer to our time, is an important example. This film puts the political dimension in a two-way division, first of all, it deals with one of Marie Antoinette's aristocratic English friends in terms of the Great French Revolution and its setting, and then evaluates this class relationship in a historical logical manner. Historical cinema, within the subject of the film and political narratives, confronts and identifies the audience with the political commitment, and in this way tries to instill a political consciousness in them.

Ideological Cinema

Ideological cinema has a different order. It is based on the art of propaganda. It brings together symbolic practice and social action on the silver screen. ideological cinema, It transforms the audience into a public community and aims to identify each audience with the political facts and heroes in the film.

In the field of historical cinema, although the symbolic identity predominates as an artistic quality, in ideological cinema, there is a community that has been under obligation from the very beginning of the film, and it turns into a completely political feature because it creates a type of obligation constructed for the audience.

It is possible to give an example of ideological cinema, the movie "This is England" produced by Shane Meadows, which was released in 2006, and its Turkish presentation "The Opposing Spirit Against Fascism". The film brings the social and political events of 1983 to the big screen in the context of the Falklands war, skinheads and xenophobia.

In addition to this, Ken Loach's 1998 film My Name is Joe, 2001's The Marines and Mark Herman's 1997 Masters films are outstanding examples of ideological cinema.

Ideological cinema, while bringing the events it captures in artistic obligation and presentation to the big screen, creates unique political discourses over these events, and in these discourses, it enables the actors of the film to identify with the audience. In this way, ideological cinema brings together three types of political identity. These; the political identity of the producer, the political identity of the people in the film and the audience.

Documentary Cinema

Documentary cinema has a slightly more specific order. In documentary cinema, on the one hand, there is an analysis of a political event in accordance with the presentation of the film, or a centralization around the commitment of a political personality, on the other hand, there is a practice in terms of revealing and investigating a political reality.

Besides, the established narrative, the situation is not far from artistic. The proof of the film itself depends on the audience's approval of the research that is the subject of the application.

Here, again Ken Loach's 1996 production of «Karla's Song», which symbolizes the situation in Nicaragua and the economy in England as a political situation, documenting it in one person, and a 2007 Turkish production, completed under the direction of Biket İlhan. Among the leading documentaries are the films "The Blue-Eyed Giant", which is about the life of the world-famous Turkish poet Nazım Hikmet and the years of Bursa Prison, in which the ideals of communism and humanity are handled and symbolized in one personality.

What characterizes a documentary film anyway, is that a political situation is emphasized in the film's objectivity and the establishment of a social commitment from a person's point of view, again through a person.

Musical film is a genre of film in which characters mixed together in a narrative form sing various songs.

Songs are often used to advance the script or develop the characters of the movie. The musical's subgenre includes musical comedy, music, dance, and strong humorous pieces as in the story.

The musical film was born and developed from the stage musical. Typically, the major difference between film and stage musicals is the generous use of scenes whose execution is unsuitable in theatre. Contains elements reminiscent of theater as a musical movie character; reenactments often treat their pieces and dance numbers as if there were spectators watching at the moment. In a way, the view becomes a pointer to the viewer, the animator looking directly at the camera and animating for him.

War films are the genre of films whose subjects are primarily war. Films on prisoners of war, covert operations, military training or similar topics are also considered war films, although they are generally about sea, air or land battles. Some war films may also focus on the daily lives of soldiers or civilians instead of describing battles. The subject of the films can be purely fiction, or they can be text-drama, biographical or alternative historical fictions based on real events in history. Most of the war movies made during World War II. It is about World War II.

The term anti-war film (English: anti-war film) is used to denote films that showcase the painful and terrible aspects of war, often shot from a political and ideological point of view.

Crime films are films about criminal acts or the lives of criminals. These films may be inspired by the life stories of real criminals or they may contain completely fictional people. In crime movies, crime elements are usually glorified. His screenplays are adapted from plays rather than novels. Subgenres of mafia movies or movie noir crime movies can be counted.

Film noir (French: film noir) is a cinematic term primarily used to describe Hollywood crime films that place their protagonists in a world that can be perceived as rotten and repulsive. Hollywood's classic film noir era spans from the early 1940s to the late 1950s. The low-light, black-and-white noir films of this period were influenced by German Expressionist cinema. Truck. On the other hand, the attitude towards exemplary stories and classic films arose from the crime films that emerged in the United States during the Great Depression.

The term film noir, first used by the French critic Nino Frank in 1946 for Hollywood movies, was unknown to filmmakers and actors who had made and are making classic noir films at the time. Many have admitted that they were unaware of creating such a genre, despite making films noir. The criteria of the film noir movement were determined later by historians and critics.

Contents

1 Land - What is it?
2 The prehistory of film noir

2.1 "The Simple Art of Murder" [2]

3 Classical period

3.1 Important American noir films of the classical era

3.1.1 1940 - 1949
3.1.2 1950 - 1958

3.2 Directors and film noir business

4 Film noir outside the United States
5 New film noir and echoes of the classical style

5.1 1960s and 1970s
5.2 1980s to the present

5.2.1 Psycho-film noir

5.3 Dark science fiction

6 Film noir parodies

6.1 Features of classic film noir

6.1.1 Visual style
6.1.2 Structure and expression tools
6.1.3 Subjects, characters and scenery
6.1.4 Worldview, morals and tone

7 Notes
8 Bibliography and additional reading
9 External links

Black - What is it?

"We may be oversimplifying the film noir movement by describing it as dreamy, bizarre, erotic, messy, and cruel..." [1] This is "Panorama du film noir americain 1941-1953," written by French critics Raymond Borde and Etienne Chaumeton in 1955. His attempt at " (Panorama of American Film Noir) was the first attempt to define the film noir movement and became the basis for many subsequent studies on the subject. Researchers have made an effort to show that not every film noir contains these five features in equal amounts—some may be more fanciful, others particularly brutal. As can be understood from the multitude of definitions made for film noir, there is no clear and short definition that has been put forward in 50 years. The warning of the French critics worked: generalizations about this field, which is completely different in its roots, results and nature, will be insufficient and will result in simplification.

Films noir cover a range of genres, from gangster and police films to social films, and take a variety of visual approaches, from the simple films that make up the Hollywood mainstream to the extravagant. While many critics consider film noir a genre in its own right, there are also those who argue the opposite. Often associated with urban setting, many classic films noir take place in small towns, suburbs, countryside, or on the road; therefore, as in Western movies, the setting is not enough to define the genre. Likewise, private detective and femme fatale characterizations are movie characters often associated with film noir, but neither is found in the majority of films noir. Therefore, a character-based approach cannot be made for genre determination, as in gangster movies. There are no supernatural (see horror film), speculative (see science fiction film) or musical motifs in films noir. A similar situation is also valid for movies called screwball comedy. These films are considered a genre by critics, but they have no basic criteria. They are mostly defined by the general order in films and the presence of some basic principles that are not seen in all.

However, due to the peculiarity of film noir, experts in this field, such as the film historian Thomas Schatz, emphasize that film noir is a style rather than a genre. Alain Silver, who specializes in film noir studies and whose books are the most published in America, refers to a period and a phenomenon; it even claims that film noir has a coherent set of visual and thematic codes that other distinctive genres have. Other critics use the term film noir to mean an 'atmosphere', a 'movement', a 'series', or to refer to several films made during that period.

The prehistory of film noir

The origin of film noir is found not only in cinema but also in other artistic mediums. The low lighting scheme, which is associated with the classical style, is associated with the tradition of using shading (chiaroscuro) and sharp contrasts (tenebrism) in painting developed by Mannerist and Baroque artists in the 15th and 16th centuries. Film noir aesthetics was deeply influenced by German Expressionism, which was closely associated with theater, photography, painting, sculpture and architecture of the 1910s and 1920s.

The boom of the Hollywood film industry and the subsequent Nazi government's forcing many filmmakers involved in or working with the Expressionist movement to immigrate opened up many opportunities for film noir. The most famous classic black f Directors such as Fritz Lang, Robert Siodmak and Michael Curtiz, who produced some of the films, contributed with dramatic lighting techniques and psychologically impressive mise-en-scène. Lang's masterpiece M, shot in 1931, is one of the main crime films of the period with film noir characteristics. It has a film noir type of plot, with the protagonist and his followers being criminals. M has also attracted attention with the successful acting of Peter Lorre, who will star in many American noir films of the classical period.

The "authentic" femme fatale, Marlene Dietrich, with her cigarette characteristic of film noir, in the famous frame of Josef von Sternberg's touching melodrama The Blue Angel (Der blaue Engel, 1930)

By 1931, Curtiz had been in Hollywood for five years, making six films a year. His films 20,000 Years in Sing Sing (20,000 Years in Sing Sing, 1932) and Private Detective 62 (Private Detective 62, 1933) are early Hollywood sound films that can be classified as film noir. Films with an expressionist bent and a particularly free style include Universal Studios' Dracula (1931), The Mummy (1932) (the cinematographer of the former, Berlin-trained Karl Freund directed the latter) and The Black Cat (directed by Edgar G. Ulmer). There are movies like The Black Cat, 1934.

Universal's horror films are the closest to the film noir genre in terms of both story and sensitivity; however, directed by British artist James Whale and American artist Carl Laemmle Jr. The Invisible Man (1933), filmed by The Invisible Man and The Shanghai Express (The Shanghai Express, 1932), and The Devil Is a Woman (1935), directed by Josef von Sternberg, who was born in Vienna but grew up in America Like films, with their eroticism and baroque visual style, they are compatible with the basic features of classical film noir. The reason for the commercial success of Sternberg's silent film Underworld (Underworld, 1927) is Hollywood's rejection of the gangster movie movement. Popular productions of this genre, such as Little Caesar (Little Caesar, 1931), Enemy of the Public (The Public Enemy, 1931), and Scarface (Scarface, 1932), are examples of the morally reprehensible character of film heroes of the period.

The classic film noir was also heavily influenced by the French poetic realism of the 1930s, known for its romantic, fatalistic approach and its blessing of damned heroes. Another trend that influenced film noir is the Italian Neorealism of the 1940s, with its documentary-like air. The Warner Bros drama I Am a Fugitive from a Chain Gang (1932) is a film with these sensibilities. Classic film noir era films The Naked City (1948) (dir: Jules Dassin), and Panic in the Streets (1950) (dir: Elia Kazan) are Neorealist with off-set shots and non-professional actors. tended to the approach. A few films that are now counted as film noir have started to use ordinary heroes and opened the door to neorealism. The most famous example of this is Billy Wilder's film The Lost Weekend (The Lost Weekend, 1945) by the American director Billy Wilder, who was also born in Vienna and educated in Berlin. (Incidentally, one of the earliest examples of neorealism influences is the film Menschen am Sonntag, co-written by Siodmak and Wilder and directed by Siodmak and Ulmer).

Although it is not a film noir, the complex structure that progresses with Sternbergian visual confusion and voice-over narration in Citizen Kane (Citizen Kane), directed by Orson Welles in 1941, has been used in many films noir.

"The Simple Art of Murder" [2]

The major literary works influencing film noir are the hard boiled school of American detective and crime fiction. Writers such as Dashiell Hammett (his first novel, The Red Harvest, 1929) and James M. Cain (his first novel, The Postman Rings Twice, 1934) pioneered the school, and magazines such as Black Mask made it widespread. Classic films noir such as The Maltese Falcon (The Maltese Falcon, 1941), The Glass Key (The Glass Key, 1942) are based on Hammett's novels; Cain's novel Double Indemnity (1944), Mildred Pierce (1945), The Postman Knocked Twice (1946) and Slightly Scarlet (1956), based on the story A Cute Imitation of Love. A decade before the Classical period, a story by Hammett provided the basis for the gangster melodrama City Streets (1931), directed by Rouben Mamoulian and supervised by Lee Garmes, a regular with Sternberg. Kent Streets, which contains many film noir characteristics both in style and story, has the claim of being the first major film noir since it was released a month before Lang's M.

Raymond Chandler quickly became the most famous writer of the hard boiled school with his 1939 work The Big Sleep. r. Chandler has not only inspired major films noir with his novels—for example, Murder, Sweetie (Murder, My Sweet, 1944; an adaptation of Good Luck, My Love), Big Sleep (The Big Sleep, 1946) and Lady in the Shadow (Lady in the Shadow, 1947) – he also became a prominent screenwriter, writing screenplays for Double Indemnity, The Blue Dahlia (The Blue Dahlia, 1946) and Strangers on a Train ( 1951). While Chandler, like Hammett, placed the private detective hero at the center of his novels, Cain created less heroic characters and focused on psychological expression rather than the solution to the murder. Cain's approach is placed in the so-called noir subgenre of the hard boiled genre. In the 1940s, one of the most prolific and successful authors of these stories was Cornell Woolrich (sometimes using the pseudonyms George Hopley or William Irish). No other author's published work has been as fruitful as Woolrich's in laying the groundwork for classical period film noir. Thirteen of his works have been made into films (Black Angel (1946), Until Dawn (Deadline at Dawn, 1946), and Fear in the Night, 1947, etc.).

There is another very important name that is often overlooked but is the source of film noir: William R. Burnett. His first novel, Little Caesar, was published in 1929. In 1931, he caught the attention of Warner Bros., the following year, Burnett was asked to write the screenplay for Scarface, and in the same year one of his stories was adapted into a movie as Beast of the City. Although these films were made very early, some critics describe them as films noir. Burnett's characteristic expressive attitude falls somewhere between the hard boiled writers and their film noir partners – the characters are always heroic, gangster-like. During the Classical period both Burnett's stories and scripts formed the basis for seven films now widely known as films noir: High Sierra (High Sierra, 1941), This Gun for Hire ( 1942), and The Asphalt Forest (The Asphalt Forest). Jungle, 1950).

Classical period

One of the most excellent films noir, Build My Gallows High (Out of the Past, 1947) bears many hallmarks of the genre: its protagonist is a cynical private detective, a sexy femme fatale, many voice-over flashbacks, dramatic use of shadows, and provocative A leavened fatalistic atmosphere is created with words. The star of the movie, Robert Mitchum, is one of the most famous male icons in film noir.

The 1940s and 50s are often known as the "classic era" of American film noir. The Stranger on the Third Floor (Stranger on the Third Floor, 1940) is considered the first "true" film noir. City Streets and other World Wars such as Fury (Fury, 1936), You Only Live Once, 1937, directed by Fritz Lang. While WWII crime melodramas are considered by some critics to be excellent films noir, the majority categorize them as "first-noir" or similar terms. Many critics say there is a notable difference between the two decades (40s and 50s) of the classic film noir era. There is no consensus on what difference there is other than the disappearance of the technique of telling the story through the eyes of the protagonist, but it is agreed that the films noir of the 1950s were more "extreme".

Orson Welles' Touch of Evil (1958) is considered the last film of the classical era. Some scholars say that film noir is not actually finished, but that its style has been updated and transformed by Hollywood-led production conditions in different directions – in this respect, films that are in the tradition of film noir but were made later are seen as an ongoing part of classic film noir. However, most critics are of the opinion that films made after the classical period are something other than genuine films noir. According to them, real film noir belongs to a temporary and limited geography; for this reason, later films that try to imitate the classics are separated from them because their creators are now aware of a style called film noir. As mentioned above, this concept was not yet formed in the classical period of film noir.

Most of the classics are low-budget movies (B-movies) starring big stars, and their writers, directors, cinematographers, and crew members are sometimes on Hollywood's blacklist (suspected of being Communist Party sympathizers). They haven't put themselves in the typical big movie constraints. This has been done for a long time, especially in B-type film noir, although the production code, which defines the limitations of the American film market, imposes a rule that no film character should profit from murder. Thematically, films noir often portray a woman of questionable virtue as the centerpiece of the story. center and this is one of the distinguishing features. A notable film in this vein is Billy Wilder's Double Indemnity, in which Barbara Stanwyck plays the unforgettable femme fatale as Phyllis Dietrichson (a reference to Marlene Dietrich, who had an extraordinary career in the films directed by Sternberg). A purely Class A production, the commercial success of the film and its seven Oscar awards made it arguably one of the most impressive early film noirs, leading to what would later become known as bad girl films.

Traditional Class-A films have rules such as conveying a positive, reassuring message while being dramatic, using a concealed camera and montage technique, softly lit scenes and glamorous props. Film noir makers overturned this; They have created bleak, sophisticated dramas that convey a sense of insecurity, cynicism, and the absurd, often filming in the city without setting, or adopting a budget-friendly minimalism, resorting to a striking use of expressive lighting, using disturbing camera angles and complex flashbacks. The style of film noir gradually influenced the Hollywood mainstream.

Important American noir films of the classical era

(with directors and notable film noir actors) [3]

1940 - 1949

The Stranger on the Third Floor (Stranger on the Third Floor, 1940) c. Boris Ingster, he. Peter Lorre
High Peak (High Sierra, 1941) c. Raoul Walsh, he. Ida Lupino, Humphrey Bogart
Maltese Falcon (The Maltese Falcon, 1941) c. John Houston, he. Bogart
The Shadow of Doubt (Shadow of a Doubt, 1943) c. Alfred Hitchcock, he. Joseph Cotten
Laura (1943) c. Otto Preminger, he. Gene Tierney, Dana Andrews, Clifton Webb
Double Indemnity (Double Indemnity, 1944) c. Billy Wilder, he. Fred MacMurray, Barbara Stanwyck, Edward G. Robinson
The Man Who Made (The Lost Weekend, 1945) c. Wilder, it. Ray Milland
Life Cost Woman (1945) c. Michael Curtiz, he. Joan Crawford, Zachary Scott
Big Sleep/Joining Hearts (The Big Sleep, 1946) c. Howard Hawks, he. Bogart, Lauren Bacall
The Devil's Daughter Gilda/Devil Woman (Gilda, 1946) c. Charles Vidor, he. Rita Hayworth, Glenn Ford
The Killers (The Killers, 1946) c. Robert Siodmak, he. Burt Lancester, Ava Gardner, Edmond O'Brien
Bad Fame (The original name of the movie, also known as Aşktan or Üstün in Turkey, is Notorious, 1946) y. Hitchcock, it. Claude Rains, Cary Grant, Ingrid Bergman
The Postman Rings Twice (The Postman Always Rings Twice, 1946) c. Tay Garnett, she. Lana Turner, John Garfield
The Stranger (The Stranger, 1946) c. Orson Welles o. Robinson, Loretta Young, Welles
Dark Passage (Dark Passage, 1947) c. Delmer Daves, he. Bogart, Bacall
The Lady from Shanghai (The Lady from Shanghai, 1947) c. Welles, it. Hayworth, Welles
From the Past (Out of the Past, 1947) c. Jacques Tourneur, he. Mitchum, Jane Greer, Kirk Douglas
Key Largo (1948) c. Houston, he. Bogart, Robinson, Bacall
Iron Fist (The Set-Up, 1949) c. Robert Wise, he. Robert Ryan, Totter
Summit (White Heat, 1949) p. Walsh, he. James Cagney, O'Brien

1950 - 1958

The Diamond Thieves (The Asphalt Jungle, 1950) c. Houston he. Sterling Hayden
D.O.A. (1950) y. Rudolph Mate, he. O'Brien
Danger Sign (In a Lonely Place, 1950) c. Nicholas Ray o. Bogart, Gloria Grahame
Night and the City (The Night and the City, 1950) c. Jules Dassin, he. Richard Widmark, Tierney
Sunset Boulevard (The Sunset Boulevard, 1950) c. Wilder, it. William Holden
The Great Carnival (Ace in the Hole, 1951) c. Wilder, it. Douglas, Jan Sterling
Strangers on a Train (Strangers on a Train, 1951) c. Hitchcock, it. Farley Granger, Ruth Roman
Pickup on North Street, 1953) c. Samuel Fuller, he. Widmark
Fear of Death (The Big Heat, 1953) c. Fritz Lang, he. Ford, Grahame
Kiss Me Deadly (Kiss Me Deadly, 1955) c. Robert Aldrich
The Night of the Hunter, 1955) c. Charles Laughton, he. Mitchum, Shelley Winters
The Law Can't Be Escaped (The Killing, 1956) y. Stanley Kubrick, he. Hayden, Coleen Gray, Vince Edwards
The Stained Man (The Wrong Man, 1956) c. Hitchcock, it. Henry Fonda
Sweet Smell of Success (Sweet Smell of Success, 1957) c. Alexander Mackendrick, he. Lancester, Tony Curtis
The Endless Honeymoon (Touch of Evil, 1958) c. Welles, it. Charlton Heston, Janet Leigh, Welles

Directors and film noir business

A scene from the movie In A Desolate Place. Filmed by Nicholas Ray, inspired by a novel by the novelist Dorothy B. Hughes. Gloria Grahame and Humphrey Bogart, two famous actors of the classic film noir

While Stranger on the Third Floor was an RKO B-grade movie directed by an unknown director; movies based on continued fame from previous eras Wild er, Alfred Hitchcock, and the Maltese Falcon (The Maltese Falcon) have been deemed appropriate for the A-class films by directors who are famous for their names such as John Huston, who made his debut as a director. Otto Preminger's success with the movie Laura (1944) made him famous (with Dana Andrews; Fallen Angel (Fallen Angel, 1945) and Where the Sidewalk Ends (Where the Sidewalk Ends, 1950) classic noir films pay off the debt incurred. ) and In a Lonely Place led to something similar in Nicholas Ray's career (his other noir films - They Live by Night, 1948), On Dangerous Ground ( 1951) - made their debut. includes output). Orson Welles has notable financial problems, but his three noir films are well-budgeted: The Stranger (his most traditional film) and Touch of Evil (obviously a personal effort), both on lower budgets. but it was enough to advertise it; The Lady from Shanghai, on the other hand, received full support at the A-grade level; Many of Fritz Lang's films noir (including The Woman in the Window, 1945, starring Edward G. Robinson) and the playfully entertaining Scarlett Street (1945), similarly Produced with moderate budgets. Raoul Walsh didn't make much of a name for himself in his first half-century as a hard-working director, but none of his three classic noir films (The Enforcer, 1951, starring Humphrey Bogart) rounds out the group, are below average in budget and high in quality. . In addition to those previously mentioned, other directors of high-budget Hollywood noir films include Edward Dmytryk (Murder, My Sweet), Crossfire (Crossfire, 1947), Henry Hathaway (The Dark Corner, 1946), Kiss of Death ( The Kiss of Death, 1947)) and John Farrow (The Big Clock, (The Big Clock, 1948), His Kind of a Woman, 1951)).

However, the vast majority of Hollywood films that are considered film noir are class B films; some of them were made by major studios for use in the screenings of two films below their own Class A films; some of them are smaller, therefore lacking studios (poverty row studios) that incorporate different methods, from fairly good monogram images (which has been overspent for certain films in an effort to emulate many A-class productions) to weaker ventures such as the Producers Releasing Corporation (PRC). ) were made in studios called; and some of them were made by companies that are independent, mostly owned by actors and contracted with one of the largest distribution companies. Robert Wise, in another film: Born to Kill (1947) and Anthony Mann (T-Men (1947), Raw Deal (1948)) before being promoted to regular work on high-budget productions first, they made a series of impressive B-grade films, mostly film noir. Jacques Tourneur made over 30 Hollywood B-movies (though most are now completely forgotten) before directing the A-budget Out of the Past, which was voted by some critics as the best of the classic noir films. Samuel Fuller (also: Underworld U.S.A. (Underworld U.S.A. 1961), Joseph H. Lewis (Gun Crazy, 1949), The Big Jazz Ensemble (The Big Combo, 1955)) and Phil Karlson (Kansas City Is Safe (Kansas City Confidential, 1952), The Rico Brothers (The Brothers Rico, 1957)) have made great profits with their B-grade films. In 1945 Edgar G. Ulmer makes Detour (Detour, 1945), one of the most sought-after film noir classics of all time, in the PRC. B grade film; In the late 1940s and 1950s it provided Ida Lupino the opportunity to become the only female director in Hollywood; His best-known film is The Hitch Hiker (1953), produced by his company The Filmakers and distributed by RKO. This film is one of 7 films noir filmed outside the major studios given the day for the United States International Film Registry; others: Detour, Gun Crazy, D.O.A, Kiss Me Deadly, Sweet Smell of Success (four previous films distributed by United Artists-studio without studio) )) and The Power of Evil (Force of Evil, 1948). Metro-Goldwyn-Mayer's director Abraham Polonsky and rising star John Garfield are both blacklisted in the 1950s. Independent construction has often meant limited conditions; but not always - for example, Sweet Smell of Success could not be made cheaply despite the original plans of its makers; A-budget black elephant by majority Although it is accepted as m, it can be said that it is a B movie in essence.

Perhaps no director gives that spirit more than Robert Siodmak, who shot a series of films before his arrival in Hollywood in 1940. While working mostly on A features, he made 8 films that are considered classic film noir today (the same can be seen only in Lang and Mann). In addition to Burt Lancaster's debut The Killers (1946), Siodmak's major contributions to the genre include 1944's Phantom Lady (a seeded B movie and Woolrich adaptation), sarcastically There are films called Christmas Holiday (Christmas Holiday, 1944) and Cry of the City (48). Again under the leadership of Lancaster, the film Cross (Criss Cross, 1949), Siodmak's; He exemplifies how a B movie brings its effects to a movie noir. In lower budgets; In addition to the relatively freer constraints evident in character and message, the nature of the B production lends itself to film noir purely for economic reasons: the dim lighting not only saved electricity costs, but also made a profit in this direction by allowing the use of cheap drapes (fog and smoke as well). also serves this purpose); night shots were challenged by rushed production schedules; The plots with unclear motivations and intriguing smooth transitions are the result of very fast-paced scripts, but not enough time and money was available to shoot all the scenes. In the movie Criss Cross, Siodmak; By integrating the femme fatale roles with Yvonne De Carlo, who plays her most understandably, she manages to show all the effects with Dan Duryea in one of her charismatic rogue roles, and Lancaster, who has already shone as an American soldier who turns into an armed robber and an obsessive romantic who is determined to be devastated.

Film noir outside the United States

Some critics consider classic film noir exclusive to the United States; for example, Alain Silver and Elizabeth Ward: "Along with the Western genre, film noir has the distinction of being a Native American genre… it is purely American film style." However, most filmmakers see film noir as an international phenomenon. Even before the beginning of the classical period, films prioritizing film noir were made outside of Hollywood. Examples of this are French productions such as Pepe and Moko (Pepe le Moko, 1937) directed by Jules Duvivier and The Day Comes (Le Jour se leve, 1939) directed by Marcel Carne.

Jeanne Moreau, who starred in Louis Malle's film The Elevator of the Gallows (Ascenseur pour l'echafaud, 1958). The film features one of the most memorable soundtracks of all time, composed and performed by Miles Davis.

During the Classical period, films were made outside of the United States, especially in France, that shared the style, themes, and sensibilities of American film noir, and could therefore be described as film noir. In certain cases, the relationship of these films to Hollywood film noir is very clear. American-born director Jules Dassin moved to France in the early 1950s after being placed on the [Hollywood blacklist|Hollywood blacklist] and produced one of the most famous French noir films: Bela (Rififi, 1955). Other well-known French films classified as film noir include Henri-Georges Clouzot's Wharf of Sixth (Quai des Orfevres, 1947) and The Demons (Les Diabliques, 1955); the films Golden Helmet (Casque d'or, 1952) and Touchez pas au grisbi (1954), directed by Jacques Becker; The Elevator of the Gallows (Ascenseur pour l'echafaud, 1958), directed by Louis Malle. French Director Jean-Pierre Melville in the classical period like While You Are Reading This Letter (Quand tu liras cette lettre, 1953), Bob the Gambler (Bob le flambeur, 1955), and later Le Doulos (1962), Samurai (Le Samourai, 1967) and Red He was known for his tragic-minimalist noir films like The Circle (Le Cercle rouge, 1970).

A few films shot in Great Britain during the Classical period are also sometimes considered film noir. These include Brighton Castle (Brighton Rock, 1947), directed by John Boulting; I Was a Fugitive (They Made Me a Fugitive, 1947), directed by Alberto Cavalcanti; There are films such as The Small Back Room (1949), directed by Michael Powell and Emeric Pressburger, and Cast a Dark Shadow (1955), directed by Lewis Gilbert. Before leaving for France, Jules Dassin faced political pressure to shoot the last English-language film of the classical era in the United States. Although Night and the City (1950) is mostly seen as an American film, the film is technically a UK production and budgeted by 20th Century-Fox's English channel. The most famous British film noir is The Third Man (The Third Man, 1949), directed by Carol Reed. Like Brighton Castle, it has Graham Greene Taken from a novel. Despite being entirely British, it is sometimes referred to as a classic Hollywood noir film. It was shot in Vienna just after World War II, and Joseph Cotten and Orson Welles also starred in the movie.

In Italy, Luchino Visconti adapted Cain's novel The Postman Rings Twice as Obsession (Ossessione, 1943), and the film was seen as one of the greatest films noir and a seminal work of neorealism. In Japan, the famous director Akira Kurosawa has made several films that can be seen as films noir: Drunken Angel (Drunken Angel, 1948), Stray Dog ( 1949), and High and Low (High and Low, 1963).

Among the most important new noir films (the term is often used for films referring to the classical tradition), Shoot the Pianist directed by François Truffaut (Tirez sur la pianiste, 1960) based on a novel by one of the most somber American novelists, David Goodis. ) movie. Black crime films and melodramas were shot in many countries in the post-classical period, some of which were fully self-aware new noir films, and some that shared the hardboiled sensibility with the classic film noir tradition. Some of the important examples are: The Conformist (Conformista, 1969, Italy), Sand Castle (Suna no Utsuwa, 1974, Japan), American Friend (Der Americanische Freund, 1977, Germany), Element of Criem (The Element of Criem, 1984, Denmark), As Tears Go By (As Tears Go By, 1988, Hong Kong), Sleepless (Insomnia, 1997, Norway), Dealer (Croupier, 1998, UK) and Blind Well (Blind Shaft, 2003, China).

New film noir and echoes of the classical style
1960s and 1970s

Although it is difficult to draw a line between some films noir filmed in the early 1960s, such as Blast of Silence, 1961, Cape Fear, 1962, and film noir filmed in the late 1950s; new trends emerged in the post-classical period. The Manchurian Candidate (The Manchurian Candidate, 1962), directed by John Frankenheimer, Shock Corridor by Samuel Fuller (Shock Corridor, 1962), and Brainstorm (1965), directed by veteran film noir actor William Conrad, are all derived from the classic film noir. refers to mental disorders within stylistic and color frameworks. In a different temperament; Arthur Penn (with Mickey One (Mickey One, 1964), obviously inspired by Truffat's Hit the Pianist (Tirez sur la pianiste) and other French New Wave films), John Boorman (although fully immersed in the French New Wave, similarly Influenced by his film The Road of No Return (Point Blank, 1967), and Alan J. Pakula (with the film Klute (1971)) to draw the audience into their films; they made films with the intention of deliberately linking their titles with the original films. Conscious endorsement of classical trends in the revival, rejection, or redesign of historical models; It was the features that gave the period the term "new" according to many critics. Although several recent classic noir films, including Kiss Me Deadly, have self-awareness in understanding and transcend the conventional; none of them got a clearly high- or mid-budget tip from most audiences of the time. The first of the popular crime dramas to have an unmistakable new film noir temperament is not a movie; It was the TV series Peter Gunn created by Blake Edwards.

New Film Noir: A bout de souffle (A bout de souffle), based on a story by François Truffaut and written and directed by Jean-Luc Godard, with Jean-Paul Belmondo Humphrey Bogart as car thief Michel Poiccard, also known as Laszlo Kovacs , 1960) gave his best play.

Clear relationship with film noir traditions; (which by its very nature allows for very different interpretations) lays the groundwork for explicit criticisms of these traditions. The first major film studied in this respect (which can be considered the newest of the new); Influenced by Bogart and his murder films, it is the French Director Jean-Luc Godard's film "The Vagrants" (À bout de souffle, 1960), which created a new style for a new day. Working on Peter Gunn, director Robert Altman showed his anger at film noir piety in 1973 with The Long Goodbye. the iconoclast-style original detective Philip Marlowe, taken from Raymond Chandler's novel, who plays the role of one of Bogart's most famous characters; ridiculously unrelated to the customs and morals of the time; reincarnated as an unlucky misfit. Altman's subversion of the film noir legend was insultingly disrespectful to current critics, while at the same time Woody Allen lovingly continued his commitment to the classic genre with Play It Again, Sam (1972).

The most acclaimed neo-noir film of the period was Roman Polanski's 1974 film Chinatown. Written by Robert Towne and featuring the usual film noir scenes depicting the Los Angeles state of the 1930s, innocence has lost its significance and has been replaced by a more brutal content. While Polanski and Town almost go back and take the film noir to a black peak; Martin Scorsese and film writer Paul Schrader brought an empty, opinionated stance to film noir on America's bicentennial with the iconic film Taxi Driver (1976). In 1978 Walter Hill wrote and directed a chase film called The Driver, which may have been imagined in an abstract mood by Jean-Pierre Melville. For the original screenplay of Sam Peckinpah's The Getaway (The Getaway, 1972), an adaptation of a novel by Jim Thompson, as well as the adaptation of two hardcore detective films (Hickey and Boggs, 1972) and Hill; He was clearly the main character in 1970s film noir. Some of the most powerful films noir of the 1970s were remakes of the classics; neo-noirs were made in the default format: Altman's; Ray's sad film, based on the same source as The Night Lives; Thieves Like Us (1973) and Mitchum, later changed to Murder, My Sweet by Chandler; The movie Farewell My Lovely (Farewell My Lovely, 1975) can be given as an example. Detective serials that were common on American television throughout the period changed long-established traditions in different ways; but the program that demanded the deepest film noir genre was a horror parade with a Long Goodbye-style humor: a major role was played by a Chicago newspaper reporter who often conducted bizarre investigations of the supernatural; The Night Stalker (Kolchak: The Night Stalker, 1974–75) is an example of this.

From the 1980s to the present

By the 1980s, Scorsese's (co-written with Schrader) black and white film Raging Bull was shot; it was a critically acclaimed masterpiece – widely regarded as the greatest film of the 1980s – and at the same time the movie was a comeback: it depicts decay on the axis of a boxer, Body and Soul (Body and Soul, 1947) and Champion (Champion), both thematically and as a visual ambiance. , 1949) reminded me of movies like. The popular 1981 film Body Heat, written and directed by Lawrence Kasdan, invoked classic film noir elements, this time using a humid, erotic Florida setting as the setting. The film's success confirmed the commercial viability of neo-noir at a time when major Hollywood studios were risk-averse. The neo-film noir movement was becoming more prominent in films such as Black Widow (Black Widow, 1987), Shattered (Shattered, 1991) and Final Analysis ( 1992). During the past 25 years, the director who has produced the most frequent and high-budget works in the new film noir style, with the films Thief (Thief, 1981), Anger (Heat, 1995), Soydaş (Collateral, 2004) and in the 80s, Miami Vice, Crime Story He became Michael Mann with TV series like (Crime Story). Mann's work has featured rock or hip hop music, blending classic film noir themes and tropes with contemporary decor and an up-to-date visual style. Similar to Chinatown, its more complex successor, Curtis Hanson's Oscar-winning L.A. Confidential (L.A. Confidential, 1997), was inspired by James Ellroy's novel. This film expresses an opposite trend; it has the characteristics of a retro film noir, with rotten cops and femme fatales, as if they were taken from 1953 to the date the movie was made.

New film noir: Sharon Stone became the femme fatale of the 1990s in Basic Instinct (Basic Instinct, 1992) as Catherine Tramell. He is in the famous interrogation scene in the photo.

Working with much lower budgets, brothers Joel and Ethan Coen have produced important works inspired by classic film noir. Films such as Blood Simple (1984), Fargo (1996) are among the most important works of the new film noir genre, The Man Who Wasn't There (2001) seems to mirror the aforementioned movie 'Build My Gallows High'. It contains a standing stage. The Coen brothers crossed over between film noir and other genres of gangster film with Miller's Crossing (1990), inspired by Dashiell Hammet's Red Harvest and Glass Key. The Big Lebowski (The Big Lebowski, 1998), a comedy film, was a dedication to Chandler and an homage to Altman's The Long Goodbye. But among contemporary films, perhaps none ist-director Quentin Tarantino's "A films with the spirit of B-movies" did not reflect the classic film noir as well as; his films Reservoir Dogs ( 1992) and Pulp Fiction ( 1994) are hopelessly self-referential, reminiscent of the Coen brothers, with a smirking sensibility. Notable noir films of the period (some retro and some contemporary) include John Dahl's Red Rock West (1992) and The Last Seduction (The Last Seduction, 1993), Jim Thompson's Mass Murder (The Kill-Off, 1989). ), After Dark, Sweetie (After Dark, My Sweet, 1990), Forbidden Relationships (The Gifters, 1990) and The Getaway (The Getaway, 1994) 4 novel adaptations, Hot Spot (The Hot Spot, 1990), Miami Blues ( 1990) and The Usual Suspects (The Usual Suspects, 1995). The television TV series Moonlighting (Moonlighting, 1985-89) showed an extraordinary respect for the sense of humor found in the classical era. Between 1983 and 89, Mickey Spillane's private detective Mike Hammer was played by Stacy Keach, and then an unsuccessful remake of it was filmed in 97-98. Filmed in England and written by Dennis Potter, the mini-series The Singing Detective (The Singing Detective, 1986) told the story of a mysterious writer named Philip Marlow; this series was considered one of the most successful new-noir films, and some critics cited it as the most successful television production of all time.

Among the most prominent film noir directors of the 2000s are Christopher Nolan, director of Memento (2000), Sleepless (Insomnia, 2002) and Batman Begins (Batman Begins, 2005). Some recent examples would be The Cooler (The Cooler, 2003) and the Ice Harvest (The Ice Harvest, 2005) and the Max Paynein computer game. In 2005, director Shane Black shot Kiss Kiss Bang Bang (2005), partially inspired by a crime novel by Bretty Halliday, whose first short stories were published in the 1920s. Film's awareness of the conventions of not only film noir but also neo-noir perhaps makes it a brand new film noir. Although Sean Penn's The Pledge (2001) was based on Friedrich Dürrenmatt's self-referential novel, it had some degree of film noir characteristics. Perhaps the greatest commercial success of neo-noir was Robert Rodriguez's Sin City (2005), which uses black and white stylized, bizarre imagery. Sin City was based on the comic book by Frank Miller, who owed a lot to the work of Spillane and other pulp fiction writers. Similarly, Sam Mendes's Road to Perdition (2002) and David Cronenberg's A History of Violence (2005) movies were also inspired by comics. Especially this second film was the best noir film of the last ten years according to many critics. Some have appeared as television series (Veronica Mars, 2004) and Brick (Brick, 2005) as the "teen noir" movement. In such films, teenagers take on adult roles to save their friends in danger. Veronica Mars The protagonist of the TV series –which also has feminist influences- is a teenager who works as a private detective for his father and solves murders in his spare time.

Psycho-film noir

The origins of this trend can be traced back to Taxi Driver, Brainstorm, White Heat, Stranger on the Third Floor, and even Fritz Lang's movie Mye. David Lynch's films Blue Velvet (Blue Velvet, 1986), Fire Walk With Me (Fire Walk With Me, 1992), Lost Highway ( 1996), Mulholland Drive (Mulholland Drive, 2001), Twin Peaks ( Twin Peaks, 1990-91), and protagonists with mental problems or sociopathic tendencies became so characteristic of Lynch that his work was classified as a class apart, psycho-noir. was included in the class. The films Naked Lunch (Naked Lunch, 1991) and Crash (Crash, 1996), directed by David Cronenberg, followed by Blue Velvet are two similar adaptations. Director David Fincher has done this with Alien 3 (Alien 3, 1992), the hugely successful new noir Seven (Se7en, 1995), and Fight Club (Fight Club, 1999), a psycho-noir that is now more buzz than it was at launch. followed by his movies. Nolan's Memento can also be counted as a psycho-noir, along with his follow-up (Following, 1998). In the 2000s, a South Korean director named Park Chan-wook became one of the most famous directors in the psycho-noir genre.

Dark science fiction

After the classical period, one of the most important trends affecting film noir was science fiction. The Groundstar Conspiracy (The Groundstar Conspiracy, 1972) It centers around an amnesic character, a relentless detective named lm Welles. Soylent Green (1973) is the first major illustration of a dystopian near-future world. The traces of film noir are clear in the movie starring Charlton Heston. The film's director, Richard Fleischer, has produced several successful B-type noir films before, including Armored Car Robbery (1950) and The Narrow Magrin (1952). The cynical and stylistic perspective of classic noir inspired the cyberpunk subgenre of the sci-fi genre in the early 1980s, and the movie Blade Runner (1982), directed by Ridley Scott, is one of those directly affected. The film pays many explicit homages to the classic film noir genre (Scott would later make the sharp black crime melodrama Someone to Watch Over Me, 1987). Later examples of cyberpunk and dark science fiction include the films Alien 3, Gattaca (1997), Dark City (1998), The Thirteenth Floor (The Thirteenth Floor, 1999), and Minority Report (2002). The duality Ghost in the Shell (films 1 and 2) (Ghost in the Shell, 1995/Ghost in the Shell 2: Innocence, 2004) can also be shown as black science fiction.

Film noir parodies

"Loneliness has followed me all my life, everywhere. In bars, cars, sidewalks, shops, everywhere. There is no escape. I am God's lonely man." Robert De Niro as Travis Bickle, the ultra anti-hero of the new film noir, in Taxi Driver (Taxi Driver, 1976).

There have been many parodies of film noir, in many different styles. In 1945, he starred in Danny Kaye's film Wonder Man, known as the first deliberate parody of film noir. In the same year, Deanna Durbin; She was a foreground singer in the (Cornell) Woolrich-labeled The Woman on the Train, a comedy noir comedy mocking melancholy misery. Bob Hope officially launched the detective film noir parody with My Favorite Brunette (My Favorite Brunette, 1947), in which he plays a baby photographer mistaken for a mean detective. Both benefiting from the services of the cunning and self-assured Robert Mitchum; The Big Steal (1949) and His Kind of Woman directed by Don Siegel are clear examples of the classic film noir that parodied itself. the ballet Girl Hunt in Vincent Minnelli's The Band Wagon (1953); It was a ten-minute film noir purge and exploitation set in dance. Carl Reiner's Persian black and white film noir pastiche Dead Men Dont Wear Plaid (Dead Men Dont Wear Plaid, 1982) is the best-known contemporary comedy parody. The Woman from Stockholm (The Lady from Sockholm, 2005); It is a parody of film noir made with a completely made-up caste, exploiting the classic elements of the style with humor.

Film noir parodies can also have darker tones. The ultra-low-budget Columbia Pictures' Murder by Contract (1958), directed by Irving Lerner and with a depressing ending as the films it mocks, is like an 81-minute joke on film noir; The current neo-noir can be considered the deliberate example that qualifies as the first, and is seen as an inspiration for Melville's acclaimed film The Samurai (Le Samouraï). Taxi Driver, one of the excellent films noir of the 1970s; The film critically deconstructs the dark murder film by taking the murder movie to an absurd extreme and then proposing an outcome (very joyous, tragic, deceitfully ambivalent) that plots every possible unforeseen possible outcome, and tries it all out once in the movie. The Coens' film Blood Simple, which shamelessly underestimated Splatter; it was both a meticulous pastiche and an exaggeration of classic film noir. The Woman Chaser (The Woman Chaser, 1999), based on a novel by Charles Willeford; it refers not only to the film noir genre, but also to the Hollywood filmmaking process; every frame of the movie is apparently designed as the visual equivalent of a Marlowe wit – funny but hurts –.

In TV series such as Sledge Hammer (Sledge Hammer, 1986-88), cartoons such as Garfield's Babies and Bullets (Babes and Bullets, 1989), cartoon characters such as Calvin and the Tracer Bullet in Hobbes, that is, in different environments both film noir and There were parodies of the hard boiled tradition (it is one of the sources from which film noir spread and is now overshadowed by film noir).

Features of classic film noir
Visual style

Film noir has tended to use simple lighting systems, producing simple light/dark contrasts and dramatic shadow patterns. The shadows of Venetian curtains falling on an actor, on a wall, or on the whole setting; is an iconic image in film noir and It had already become a cliché before the i-film noir era. While black-and-white motion picture photography is seen by many as one of the main features of classic film noir, color films such as Leave Her to Heaven (1945), Niagara (1953), Slightly Scarlet and Dizziness (Vertigo, 1958) They are considered film noir by a varying number of critics.

Film noir, also called Dutch, is known for its narrow-angle shooting and the use of wide-angle lenses. Other disorientation methods that are quite common in film noir; It includes shots of people projected from one or more mirrors, shots made through curved or frosted glass or other disruptive objects (as applied during the drowning scene in Strangers on a Train), and the sometimes strange special effects results on nature. In the late 1940s, off-stage shooting became increasingly common in film noir—often involving night-for-night sequences.

Structural and expression tools

Films noir tend to have extraordinarily obscure plots, often involving 'backward', 'forward' techniques, and other techniques that interrupt the story and obscure the sequence in the story. Narration, to which the voice is added later, is also sometimes used as a method of structuring—usually characteristically by the protagonist, rarely by a second character or by the invisible, omniscient narrator. Today, both flashbacks and later voice-over narration are frequently used in films that seek to quickly capture new-film noir sincerity. Compared to other Hollywood films, it is seen that films noir bring the protagonist to the fore in almost every scene. Bold experiments in cinematic storytelling have sometimes been applied to films noir: for example, Lady in the Lake is shot entirely by protagonist Philip Marlowe; star (and director) Robert Montgomery's face is only seen in mirrors.

Themes, characters and scenery

Crime (usually murder) is an element in almost every film noir; In addition to the standard issue of greed, jealousy often becomes a criminal motivation. A criminal investigation—by a private detective, a police detective (sometimes acting solo), or a concerned amateur—is the most common but far from dominated core issue. Other common themes include protagonists; they are included in the film in dangerous conspiracies involving robbery, fraud or adultery. False suspicions and condemnation of crimes; betrayals and deceptions are very frequently used subject items. Amnesia, in film noir; It is more common than in real life, and smoking may seem almost mandatory.

Film noir tends to revolve around heroes who are more flawed and morally dubious than the standard, such heroes are often some kind of suckers. Typical protagonists of film noir are defined by most critics as social alienation; In the words of Silver and Ward, they are 'filled with existential pain'. Certain exemplary characters appear in most films noir—hard-hitting detectives, femme fatales, corrupt cops, jealous husbands, daring damage examiners, and weary writers. If most films of the willful nature of the new film noir are examined, the detective and the femme fatale are seen as the character types in which film noir introduces themselves the most, but a minority of films considered to be classic film noir qualify both. As a proof, of the 35 notable American noir films of the classical era listed above, only four have given the star a detective role—The Maltese Falcon, The Big Sleep, Out of the Past, and Kiss Me. Kiss Me Deadly. Of the others, only 5 could easily qualify as detective stories—Laura, The Killers, The Stranger, The Big Heat, and The Touch of Evil.

Film noir is often incorporated into an urban setting, and several cities—particularly Los Angeles, San Francisco, New York, and Chicago—are the filming locations for most classic films. In the eyes of many critics, the city in film noir; It is shown as a maze. Bars, lounges, nightclubs, and game rooms are often scenes of action. A significant number of films noir culminate in a visibly complex and often industrial setting such as refineries, factories, train tracks, power stations - the best and controversial conclusion is in White Heat.

Worldview, morals and tone

"You're a classy person, but I don't know how far you can go."
"It depends a lot on who is in the saddle."
Humphrey Bogart and Lauren Bacall; The Big Sleep (The Big Sleep, 1946).

Film noir is actually often described as pessimistic. Most typically container The popular film noir stories tell of people who are trapped in undesirable situations (which usually did not cause it, but are responsible for making things worse), who try at random, who don't care about fate, and who are often convicted. Films are seen as depicting an internally corrupted world. The classic film noir was associated by most critics with the American social landscape of the period—especially with a high level of anxiety and sense of alienation that was said to follow World War II. Nicholas Christopher's idea is representative of this: "demons unleashed, silenced by the national spirit, as if a war and the resulting social explosion". It is said that films noir, especially those shot in the 1950s and at the height of Read Scare, reflect a cultural paranoia.

Noir films; Instead of focusing on their simple "black-and-white" decisions, they tend to question relative, moral dilemmas that rarely have more than one meaning. Characters who pursue goals based on strict moral rules; They are more than willing to allow the idea that "results confirm meanings". For example; In The Stranger, the detective; he was so obsessed with tracking down a Nazi war criminal; exposes other people to mortal danger in order to capture its target.

The color of film noir is considered pessimistic; some critics see him as darker—he is overwhelmingly black, according to Robert Ottoson. Reputable critic (and filmmaker) Paul Schrader wrote in an original report from 1972 that film noir is defined by a tone that he seems to perceive as hopeless. On the other hand, complete noir films such as The Big Sleep and The Lady from Shanghai are notorious for their hard-hitting responses, often infused with sexual overtones and self-reflexive humor.

Notes

^ Borde and Chaumeton (2002), p. 2.
^ The Simple Art of Murder is a novel by Raymond Chandler, one of the important writers of the noir movement.
^ There is no purely objective way to make an appropriate list of notable films in such a specialized field. 20 films from the 1940s and 15 from the 1950s allow us to get a more or less round figure and talk about all the classic noir films without overwhelming the reader with film noir. In fact, it is impossible to find two critics who would agree on which films should be included in such a list. For this reason, the results of IMDb.com's voting system were used in the selection of "remarkable" films. The first (The Stranger on the Third Floor) and the last (The Evil's Touch) noir films already historically qualify for inclusion on this list. For the films other than the two, those that received at least 2000 votes in the 20 list and at least 7.1 out of 10 in the evaluation made out of at least 1000 votes in the 15 list were included in the list. This practice proved successful: 19 films for the 1940s and 15 films for the 1950s (including Villain's Touch) appeared immediately. However, a change was made to both lists. Despite being called a film noir by IMDb, as there is no agreement on whether the Hitchcock movie Suspicion ( 1941 ) is a film noir and Hitchcock is already on the list with 4 films, instead of the Suspense film directed by Robert Wise, a famous film noir director. , as well as the movie The Set-Up starring Robert Ryan, a famous film noir actor, were included in the list. If it had passed 1500 votes, The Letter (The Letter, 1940) would have been included in the list. In the 1950s change, however, an addition, not a subtraction, was necessary. The movie Night and the City mentioned in the article is considered by many cinema historians to be an American film noir; it is also seen as one of the most successful examples by almost all critics (especially those who are experts in the field). It would be wrong to exclude this movie from the list, because less than a thousand IMDb users have expressed their opinion about this movie and voted for it. The movie released to add this movie to the list was The Desperate Hours ( 1955): less than 1,500 votes and received the lowest rating; 2) the star of the movie, Humphrey Bogart, was already represented on the list six times; 3) there was no published criticism that the film was a prime example of film noir; 4) Silver and Ward's, the most important encyclopedia in this field, had doubts as to whether the film was film noir. The most famous film and director not included in the list is Murder, My Sweet (Murder, My Sweet, 1944) and its director, Anthony Mann, in terms of historical value.

Western is the lifestyle and culture of the USA that began with the events during the westward migration from the Atlantic coast inland. The concept of the Western has a place in the formation of the concept of the Wild West.

This culture has something to do with the clothing, literature, and even politics of US citizens. reflected in attitude. Western culture emphasizes that the strong survive, but at the same time, sacrifice and perseverance will always prevail. The leather boots used by the Americans, belts with big buckles, jeans, hats, dresses with balloon skirts, long broadcloth coats, and beaver caps are all parts of this culture. At the same time, concepts such as rodeo, cowboy, duel, sheriff, Civil War, as well as steam trains, Indians are parts of this culture.

Western is also about this culture and lifestyle; It also defines the genre of film, often on horseback, full of chases, dealing with heroism and justice.

Western subgenres

Classic westerns. Example: movies by John Ford and Howard Hawks
Spaghetti westerns (Italian low-budget Westerns) Example: Sergio Leone's films
epic western
Western comedy
neowestern
Romantic western
Musical western Example: Seven Brides for Seven Brothers from 1954
Ostern or "Red Western" (western films produced in the USSR and other Eastern Bloc countries)
Revisionist western (A type of western that questions the ideals and styles of classical westerns. Sometimes used synonymously with acid western) Example: Little Big Man
Acid Western is the subject of this article.
Contemporary westerns Films set in the atmosphere of the modern era but using the motifs of classical westerns. Examples: Bring Me the Head of Alfredo Garcia (1974) and No Country For Old Men (2007) by Peckinpah
Western Science Fiction Examples: Westworld and Wild Wild West
Curry western (Westerns originating in India)
Kimchi Western (or Guksu Western)[1][2] Example: 2008 South Korean movieThe Good, the Bad, and the Weird.
Oriental Western[3] Example: The movie above.
TV westerns. Example: "Little House" (Little House on the Prairie) and "Kung Fu".
Films about the adventures of Canadian Mounted Police in Northern Canada.(Eng. Northern: North)
Yeşilçam Westerns During the 1960s and 1970s, a considerable amount of western films were shot in Turkey. The first of these domestic 'cowboy' films, which can be unofficially called Yeşilçam Westerns, is the 1962 Nuri Akıncı film "Five Stories", in which actors such as Parla Şenol, Efgan Efekan and Hulusi Kentmen took part. In 1967, it turned into a fury and about 50 Turkish Western films were shot for 7 years. All the famous actors of Yeşilçam, especially Tamer Yiğit, Cüneyt Arkın, Ayhan Işık, Yılmaz Güney, Kartal Tibet, Sadri Alışık, Öztürk Serengil, Yılmaz Köksal, appeared in these westerns. The 1971 movie "Çeko", directed by Çetin İnanç and starring Yılmaz Köksal, broke box office records in Anatolia.

A short film or short film is a film that does not meet the criteria for a feature film. There is no universal consensus on its definition. According to the American Academy of Motion Picture Arts and Sciences, which distributes the Oscars, short films should be 40 minutes or less, including the credits.[1] According to the same organization, the following are not considered short films:[1]

Trailers and advertisements
Excerpts from a feature film (generic etc.)
Unreleased episodes of TV series
Unsold pilot episodes of TV series

Contents

1 History
2 Short Film Festivals and Competitions
3 Bibliography
4 See also

History

The term "short film" was coined in the 1910s with the advent of longer shots of feature films. The best-known short films during this period were those of Charlie Chaplin, Buster Keaton, Laurel and Hardy.

Animated films also have an important place in the field of short films.

After the 1930s, film companies began to shoot feature films and animation/cartoons to be shown in theaters. Since the 1960s, short films have been produced mostly by independent filmmakers and for private large studio projects.

Short films focus on more difficult issues that commercial feature films often set aside. Short filmmakers have greater freedom and can take greater risks for their films, but their success in public display often depends on the response they get at festivals and art shows.

Short Film Festivals and Competitions

Izmir Short Film Festival is the most important event organized in Turkey in the field of short films.

Other important festivals and competitions in this field;

Akbank Short Film Festival
Marmaris Short Film Festival
Uşak Short Film Festival
European Union Human Rights Short Film Competition
Hisar Short Film Selection

Cult film (English: Cult film) is a term for films with a loyal, passionate but relatively small fan base. The word cult (English: Cult, French: Culte, German: Kult) is a Latin word meaning western worship. It entered from the word ce cultus, and in Turkish it means passion, deification and extreme respect, as in western languages.

Cult films are generally low-budget independent films that did not achieve significant commercial success when they were released, and did not receive critical acclaim. Although these films did not attract the attention of the average movie audience, who made up the majority, over time, they created a small but passionate and even obsessive audience of their own. The fanatical fans (or followers) of these movies watch a movie they consider a cult movie over and over, memorize the lines, learn the smallest details about the movie, collect different versions of the movie, and even collect the ephemera materials related to the movie.

Cult movies don't always have to have a small fanbase. There are many exceptions to this. For example, films such as Taxi Driver (1976), Pulp Fiction (1994) or Fight Club (1999) can be given as examples of popular cult films that have reached a wide audience.

The concept of cult is subjective. A cult movie for one may not be for another. Also, a cult movie doesn't have to be a good movie. A movie that has no cinematic value may have a special fan base. An example of this is the Turkish science fiction movie called The Man Who Saved the World. Just as there are many cult movies among classic movies (Example: M - Searching for a City Killer), not every classic movie is a cult movie.

Some movie genres such as horror and science fiction have a higher tendency to produce cult movies, and cult movies inspire subsequent movies, and many movies refer to this cult movie. More cult films than horror and sci-fi, from musicals like The Sound of Music to westerns like Johnny Guitar, from violence-abuse movies like Shaft to teen movies like Animal House, even from documentaries like Gates of Heaven to porn classics like Deep Throat. It is possible to come across almost all kinds of cult films.[1]

While the music is influential in cultivating some movies (example: The Blues Brothers), in some movies it's a fetish object (like the Dirty Man's famous pistol or the durable car in the Vanishing Point movie) or a person (Big Lebowski's Jeffrey " the Dude" Lebowski character) is among the factors that raise that movie to cult status.

Since some directors have more cult films, those directors are sometimes regarded as cult directors. Like David Lynch, Quentin Tarantino, Stanley Kubrick, Tim Burton and the Coen Brothers.

Contents

1 List of cult movies
2 Cult Films in Turkish Cinema
3 Bibliography
4 See also
5 External links

List of cult movies

Main article: List of cult movies

Cult Films in Turkish Cinema

According to a survey conducted by the cinema website "Turkish Cinema", cult films in Turkish cinema are listed as follows[2]:

Battal Gazi
The Man Who Saved the World
Tourist Ömer is on Star Trek
Malkoçoğlu
Tarkan
Dracula is in Istanbul
Killing is in Istanbul
Supermen
Gora

Soap opera

Wikipedia, the free encyclopedia
(redirected from TV series)

Soap opera is a genre of TV drama. They are long-running melodrama programs that follow the lives of many different characters, usually in close to real time.

Etymology

The concept of "soap opera" (soap opera), which is used with the same meaning in some Western languages, originates from the fact that soap manufacturers were the first sponsors of this type of radio play.[1] The word opera is borrowed from "horse opera" (cowboy movie).[1]

History

Soap operas appeared in Italy, then became widespread in France[citation needed] and spread all over the world over time.

There are also opinions that the movement started with the radio drama program Guiding Light in America.

Feature is a cinematic term used to describe full-length films. The Academy of Motion Picture Arts and Sciences, the American Film Institute, and the British Film Institute define a feature length of at least 40 minutes. However, most movies targeting adults today are between 90-210 minutes. Movies targeting children are usually between 60-120 minutes.

Australia's The Story of the Kelly Gang is the first feature length film released in 1906 and lasting approximately 60 minutes.

Underground cinema or underground cinema is a term that refers exclusively to American experimental cinema.

The term was first used by critic Manny Farber to describe macho adventure films of the 1930s and 1940s.[citation needed] Since 1959, it includes any film made personally and for art in the United States. In the spring 1959 issue of Film Culture magazine, Lewis Jacobs used the term to mean 'cinema that maintains a significant part of its existence underground' in his article titled "Underground Cinema Comes to Daylight". Most of the American directors[citation needed] do not like the term 'underground' as it gives a sense of 'secret and sneaky'; prefers the term independent cinema instead.

Another Gay Sequel: Gays Gone Wild! is the second installment of the 2006 comedy Another Gay Movie, directed by Todd Stephens, about the events that develop when four gay friends decide to have sex before they start college. Another Gay Movie: Strikes Again! Gays in Space is planned for a future release.

Players

Jonah Blechman - Nico Hunter
Jake Mosser - Andy Wilson
Aaron Michael Davies - Griffin (Griff)
Jimmy Clabots - Jarod
Ashlie Atkinson - Dawn Muffler
Scott Thompson - Mr. Wilson
Lypsinka - Mrs. Wilson
Perez Hilton - himself
Colton Ford - himself
RuPaul - Tyrell Tyrell
Lady Bunny - Sandi Cove
Brent Corrigan - Stan the Merman
Euriamis Losada - Luis
Will Wikle - Jasper
Brand Lim - Jasper Chan
Isaac Webster - Jasper Pledge and Fake Griff
Amanda Lepore - Debbie Gottakunt
Willam Belli - Nancy Needatwat
Stephanie McVay - Bonnie Hunter
Andersen Gabrych - Rod the Wino Queen
Dallas Reeves, Neo and Tommy Blade - Jasper's girlfriend
Eric Eisenbrey - Gay nerd

Day Beauty[1] is a 1967 French-Italian co-production erotic dramatic film. Its original name is Belle de Jour.

The film was adapted and written by Luis Buñuel and Jean-Claude Carrière from the 1928 novel of the same name written by French writer Joseph Kessel and directed by Luis Buñuel. Catherine Deneuve, Michel Piccoli, Geneviève Page, Jean Sorel, Pierre Clémenti and Françoise Fabian played key roles.

The name "Daytime Beauty" comes from the French name for a type of lily that blooms only during the day. There is also a sarcastic reference to "Night Beauty" ("belle-de-nuit"), a French phrase meaning "whore". The film is about a beautiful married woman from the bourgeois class who spends her afternoons as a prostitute in a luxury brothel. Like many of his films, Buñuel's ruthless critique of bourgeois morality won the Golden Lion at the Venice Film Festival the year it was released.

The novel was published in Turkey under the names of Gündüz Safası (Varlık Yayınları) and Gündüz Güzeli (E-Publishing and Milliyet Publications).

Contents

1 Summary
2 Notes about the movie
3 Cast
4 Film awards

4.1 Awards won
4.2 Nominations

5 Bibliography
6 External links

Abstract

Séverine Serizy (Catherine Deneuve) is a beautiful woman living in Paris who has everything in a seemingly happy marriage. Séverine is cold towards her husband Pierre (Jean Sorel), who is a doctor, and it seems that there is no physical relationship between them. However, storms are breaking in the soul of this 'cold blonde'. One day, he receives the address of an elite appointment house from his beloved family friend, Henri Husson (Michel Piccoli), and starts working in this luxury brothel in the afternoons. Her new name here is "Daytime Beauty". The more lecherous Séverine continues to her date house, the more she becomes attached to her husband, while she strangely accepts her odious life there, where she discovers and lives her masochistic sexual fantasies. This dual lifestyle is turned upside down when psychopath Marcel (Pierre Clémenti), a rogue gangster frequenter of the dating house, falls in love with her and tries to enter every moment of her life.

Notes about the movie

"Daytime Beauty" is Luis Buñuel's first color film. In this film, he appears briefly as Hitchcock always does in his films (the man sitting in the Gardencafe). This is how he appeared in the movie An Andalusian Dog (Un Chien Andalou) (1929).
Shortly after its release in 1967, the film was pulled from the market due to a copyright issue, and for a long time there wasn't even a videotape. Finally, in 1994, the movie was re-released to theaters.[2]

Catherine Deneuve and Pierre Clémenti.

Cast

Actor/Actress Role
Catherine Deneuve Séverine Serizy (Daytime Beauty)
Jean Sorel Pierre Serizy
Michel Piccoli Henri Husson
Geneviève Page Madame Anais
Pierre Clementi Marcel
Françoise Fabian Charlotte
Macha Meril Renee
Muni Pallas
Maria Latour Mathilde
Claude Cerval
Michel Charrel Moon white servant
Iska Khan Asian client
Bernard Musson Butler
Marcel Charvey Prof. Henry
François Maistre L'ensignant
Luis Buñuel The man at the Gardencafe

A non-simulated sex scene is a scene in a movie where actors actually have sex. Porn movies are not included in this category. It is more specific to European and American cinema.

Lars von Trier is one of the directors who makes the most use of non-simulated sex scenes in his films.

The Sex Diary of a Woman (Spanish: Diario de una ninfómana) is a 2008 Spanish erotic drama film directed by Christian Molina and starring Belén Fabra and Leonardo Sbaraglia. Inspired by French author Valérie Tasso's 2005 memoir Insatiable: The Sexual Adventures of the French Girl in Spain. In the United States and the United Kingdom, the film was released under the title Insatiable: Diary of a Sex Addict. It has been translated into Turkish as a Woman's Sex Diary.

Subject

The film deals with the addicted sex life and dramatic events of a middle-class young woman named Val.

Abstract

Val (Belén Fabra) is a young, beautiful, attractive middle-class woman with a strong desire for sex. At the age of 15, she had sexual intercourse with her classmate Edouard and lost her virginity. She wants to have sex again, even though she didn't feel anything the first time. She later goes on to have several sexual partners, including Alex and Hassan. Knowing that Alex has a girlfriend, she continues to have sex with him. Tired of Val's insatiable sexual appetite, Alex asks, "Are you always thinking about sex?" after a wild night of sex with her. he asks. And then she breaks up with him angrily. Val is deeply moved by the fact that there is no one to have sex with. So she goes to a train station, finds a stranger and has sex with him at the empty station.

Val is also bothered by her excessive sexual appetite and thinks she's not a normal woman. She openly discusses her sex life with her grandmother, who encourages her to do the job she loves. Her grandmother encourages Val to keep a diary of her life as it helps clear thoughts. Val asks her grandmother about her sex life. Her grandmother tells her that in those days she was either someone's wife or a prostitute and that Val had no choice but to marry her grandfather and complained that she was never satisfied with him in bed. When Val asked if she'd been given another chance, her grandmother replied, "Damn, no, I would just keep finding as many sexual partners as I could." he replies.

Val works in the marketing department of a company in Barcelona. One day, when his old friend Hassan visits Barcelona, he leaves work early and meets her at his home. They have a crazy night having sex, trying different things, and Val arrives late for work the next day. Val's friend and co-worker Sonia warns him to be careful when restructuring his company and tells him that Val could be fired for being late for work. Sonia (Llum Barrera) is more interested in finding the right man to marry, have children and start a family, while Val is more interested in finding new sexual partners and continues to lead a free-spirited life.

Soon Val is fired from her job and attends a few interviews. In the second interview, interviewer Jaime (Leonardo Sbaraglia) is so impressed with Val that he asks her out. Val immediately agrees. Val likes her very much and wants to marry her. Against her usual self, she chooses not to sleep with him after the first date. While Val is worried about her extravagant lifestyle, Jaime quickly buys an expensive house for them to live in. Val talks to Sonia about Jaime and Sonia tells him that Jaime is older to her as Val is only 29 years old and Jaime has several adult children. However, Val loves Jaime very much and does not take them seriously. Meanwhile, Val visits his sick grandmother, who dies during her visit. But before she dies, she reminds Val to live her life.

Val and Jaime move in and start living together. The first time they have sex together when they sleep together, and Jaime quickly ejaculates. Although Val is very disappointed with Jaime's performance in bed, he doesn't take it seriously.

When Hassan visits Barcelona again and wants to see Val, Val refuses to sleep with him. Before long, Val realizes that Jaime is bipolar. Sometimes she is very affectionate towards him, and sometimes he abuses her. Jaime breaks into his office unannounced and accuses his boss of sleeping with his wife. The next day he apologizes to Val and apologizes. But another day, he brings a prostitute to their house and asks Val to join them. He doesn't even have money to pay for the prostitute and Val pays. Val decides she can't live with him anymore and decides to move out of their house. Sonia and Val break up While she's packing up for her, Jaime shows up and threatens to attack her. They manage to leave and go to Sonia's house.

One day, Sonia notices that Val has left the house without telling her, and Sonia follows her to a small and somewhat rundown apartment. Losing all his savings and unemployed to pay for Jaime's extravagant lifestyle, Val falls into a depression and tries to jump out of his apartment to take his own life, but somehow decides not to commit suicide. Desperate for a job and money, Val decides to work as a prostitute in a brothel. In the brothel, the lady controls all the women who work for her. There, Val meets Cindy, a Brazilian woman who works at the same brothel, and they become close.

Val slowly begins to enjoy her job and soon becomes regular customers, including Pedro and an Italian named Giovanni. Val falls in love with Giovanni. One day, Val and a friend from the brothel go to the hotel where Giovanni and a friend are staying. However, Giovanni prefers her friend over Val and takes her to bed. Val stays with Giovanni's friend.

Val is once again deeply disappointed by another man. Another client, Pedro, keeps telling him that he loves her and wants to marry her. However, he tries to control her with his money and asks him to do things he does not want. He physically harms her when they have sex.

Val begins to evaluate her life and asks herself if she wants to do it. He immediately decides that this is not his life and informs the lady that he wants to leave the brothel. Although the lady tries to persuade him to stay, harasses and threatens him, Val is determined and leaves the brothel.

During a rain, she goes to Sonia's house and sees Sonia, who is happily married to a man. He informs her that he has left the brothel. Sonia is very happy for Val. When Val returns to her apartment, she sees a man living in her apartment that she realizes has been spying on her before. He asks her if she would like to have sex with him without paying. The lights turn off and they begin a wild fiery lovemaking. (END)

Patrick vive ancora, (Turkish meaning: Patrick is still alive) is a 1980 Italian low-budget erotic horror film directed by Mario Landi.[1] It is the unofficial sequel to the movie Patrick directed by Richard Franklin.[2] Young actors such as Carmen Russo and Mariangela Giordano also took part in the B-movie.

Contents

1 Summary
2 Cast
3 Bibliography

3.1 Footnotes

Abstract

While Patrick Herschell and his father are traveling in their own car, the car breaks down and then waits for help by the roadside. Meanwhile, a bottle thrown from a passing car hits Patrick's head and Patrick falls into a coma. Patrick's father, Dr. Herschell, on the other hand, realizes that his son will not recover, and brings him to his villa, which he uses as a treatment clinic. He invites 5 people, including a politician and an athlete, for weekend therapy. On the other hand, Patrick, whose telekinetic powers increase day by day, uses this power to kill the guests. Dr. Herschell, on the other hand, wants to take revenge on the man who caused his son to fall into a coma.

Cast

Sacha Pitoëff - Doctor Herschell
Gianni Dei - Patrick Herschell
Mariangela Giordano - Stella Randolph
Carmen Russo - Cheryl Kraft
Paolo Giusti - David Davis
Franco Silva - Lyndon Kraft
Giovanni Di Benedetto - Peter Suniak (John Benedy)
Anna Veneziano - Lydia Grant

Basic Instinct 2 (original title in English: Basic Instinct 2) is a 2006 feature film directed by Michael Caton-Jones. It was shot as a sequel to the movie Basic Instinct, which was released in 1992.

Contents

Subject 1
2 Players
3 External links
4 Bibliography

Subject

[This subtitle needs improvement since {{{1}}}.]
This subheading needs improvement.

Players

Sharon Stone - Catherine Tramell
David Morrissey - Dr. Michael Glass
Flora Montgomery - Michelle Broadwin
Charlotte Rampling Milena Gardosh
David Thewlis - Roy Washburn
Heathcote Williams - Dr. Jacob Gerst
Hugh Dancy - Adam Towers
Indira Varma - Denise Glass
Anne Caillon - Laney Ward
Iain Robertson - Peter Ristedes
Stan Collymore - Kevin Franks
Kata Dobo - Magda
Jan Chappell - Angela

External links

You can find lyrics about Basic Instinct 2 at Wikiquote.

Basic Instinct 2 on IMDb
Basic Instinct at CinemaTürk 2
Basic Instinct 2 on Beyazperde.com
Basic Instinct 2 at Cinemalar.com

Yeşilçam's sex frenzy was followed by the popularization of video in the 1970s, when the preference of adult cinema audiences shifted towards erotic films. It is a period in which the cinema industry has lost its essence.[1] Between 1974-1980[2], quite a lot of films were shot in this direction. Especially the new actor candidates showed their acting in this direction, and over time, most of them acted in films in which social events were handled.

Contents

1 Yeşilçam sex campaign players

1.1 Male players
1.2 Female players

2 directors of Yeşilçam sex scene
3 Resources

Yeşilçam sex frenzy actors
Male actors

Mete İnselel
Kazim Kartal
Behcet Nacar
Ali Poyrazoglu
Rustu Asian
Aydemir Akbas
Nizam Ergüden
Sermet Serdengeçti
Ilhan Daner
Come on Chaman
Yalcin Gulhan
Sami Tunc
Salih Red
Pekcan Kosar
Yilmaz Koksal
Bulent Kayabas
Unsal Emre
Tamer Yigit
Şemsi İnkaya
Yuksel Gozen
Tanju Korel
Turgut Özatay
Flame Sezer
Orçun Sonata
Salih Guney
Brave Gunpowder
Tarik Simsek
Tevfik Sen
Tugay Toksöz
Ata Saka
Mesut Engin
Hakan Ozer

Actresses

Zerrin Egeliler
Feri Cansel
Zerrin Dogan
Seyyal Taner
Elif Pektas
Fatma Belgen
Gulgun Erdem
Dilber Ay
Necla Fide
Figen Han
Karaca Kaan
Necla Soylu
Melek Görgün
Sevda Ferdag
Aysun Guven
Arzu Okay
Flame Gold
Emel Aydan
Emel Ozden
Aysun Guven
Aysel Tanju
Ceyda Karahan
Saadet Gürses
Tulin Tan
Hülya Şengül
Aysun Guven
Jade Rising
Aynur Akarsu
Perihan Ates
Meltem Işık
Mine Soley
Canan Candan
Seyda Senem
Melek Ayberk
Serpil Örümcer
Selen Büke
Oya Başak
Sema Nurdan
Nur Ay
Funda Gurkan
Nalan Desert
Gulten Kaya
Nevin Nuray
Great Pioneer
Nur Soylu
Dolgan Sezer
Aysen Selvi
Seher Seniz

Directors of the Yeşilçam sex scene

Oksal Pekmezoglu
Melih Gulgen
Nazmi Ozer
Aram Gulyuz
Yavuz Figenli
Semih Evin
Tanju Gürsu
Basic Gürsu
Naki Yurter
Yilmaz Atadeniz
Nejat Okçugil
Mehmet Aslan
Ümit Efekan
Yucel Ucanoglu
Ülkü Erakalın
Cetin Faith
Alev Akakar
Semih Servidal
Gunay Kosova
Sirri Gultekin
Arif Keskiner
Mujdat Saylav
Aykut Duz
Işık Toraman
War Executioner
Nuri Ergun
Nuri Akinci
Kemal Tan
T. Fikret Plane
Oguz Gozen
Tevfik Cobanoglu
Taner Oguz
Engin Temizer
Feridun Kete
Yavuz Yalınkılıç
Sincere Utku

The sex industry, or the sexually based adult industry, is the monetary sector of businesses that provide adult amenities and entertainment. It is generally associated with the order formed by sexual productions. While this is not exactly the adult industry, it includes the sex industry. The sector includes activities involving the direct provision of services such as prostitution, sex shop, strip club, adult movie theater, stewardess club, sex-oriented men's magazines, porn movies, sex shops, sex toys, peep shows, fetish and BDSM.

Contents

1 Sexually based adult industry

1.1 AVN Awards

2 Entertainment areas
3 See also
4 Bibliography

Sexually based adult industry

The adult sector is the name given to the operation created by taking advantage of sexuality. The operation operates in a specialist and extra-recordial fashion. External registration is the domain of men and women who illegally engage in sexual activities on the street, in hotels, and at home. Many countries have criminal regulations on prostitution. If it is a specialist operation, it is registered; It is made with visuals and audio presentations taken by pornographic film actors.

The San Fernando Valley in Los Angeles, also known as the porn valley
A view from 2008 YEF

With the increase in porn productions, specialized operating companies were established in some countries, especially in the USA. These companies have become a global force, as their destination is directly human impulses. Especially for the US economy, it has been one of the few export factors, and the industry in the US has come to mind when it comes to entertainment. Many stars who decided to become pornographic film actors in their country; He immigrated to the USA and developed his business life here. Therefore, it was not easy to determine the revenues of this sector for the United States. In a Federal study conducted in the USA in 1970, it was predicted that the total operating amplitude could be at most 10 billion US dollars.[1]

In 1998, according to the data of the research company Forrester, American education His mental operations had annual revenues ranging from $700 million to $1 billion. In Eric Schlosser's book, Underground Economy, he said that the overall total input of this operation reached 7-8 billion Dollars.[2] He also stated that the industry is actually a $10 billion operation and this will never be proven.[3] According to a study in 2000, it was stated that there was 2-3 billion dollars worth of hot money in the sector.[4]

There has been a constant business battle between VHS, Blu-ray, and Betamax, the most effective production formats for entertainment operation[5][6] Currently, YT DVD is the most sought-after format.[5][6] [7]

The majority of professional porn filmed around the world is filmed in the San Fernando Valley. This is a green entertainment city a few miles from Los Angeles.

Kent has pioneered porn productions in the USA since the 1970s. Included in Operation: The global focus of pornographic film actor, production companies, directors and distributors has been the San Fernando Valley. Important formations are structured in the San Fernando Valley. The most important of these was AVN Magazine and its regulations. AVN Adult Entertainment Fair, organized by AVN, succeeded to be the most important of these arrangements.

AVN Awards also find their winners at The Venetian Resort Hotel Casino during the AVN Adult Entertainment Show. YEF is the largest live sex show in the United States.[8] 30,000 people and 355 exhibiting companies participated in the fair held in 2007.[9] 2008 YEF was held between 9-12 January.[10]

Although the USA is the place where the most porn productions are produced and the market is formed, sexual-entertainment businesses have also been established in countries that allow hardcore productions such as England[11]. There are also major economies such as Japan[12] which usually produce softcore and pink-spotted productions. In the rest of the world, there are usually magazines in production, film productions are of the type of personal entrepreneurship and there are no big production companies.

AVN Awards

2007 AVN Awards
Main article: AVN Awards

AVN Awards are given once a year to the most successful people in porn of that year in various branches; It is one of the most prestigious awards of the "adult film industry". These awards are also called "Oscars of Porn"[13]. AVN Awards find their winners in about 100 categories. All awards are given to pornographic productions and pornographic film actors playing in these productions.

AVN Magazine first supported this organization in February 1984. The awards ceremony is held in January at The Venetian Resort Hotel Casino in "Las Vegas, Nevada". On the last night of the AVN Adult Entertainment Fair (YEF), the results are announced and nominated pornographic film actors perform live at YEF before the results are announced. The awards are then won with a big show.

Awards for homosexuals have been given since 1998.

Entertainment areas

Adult entertainment today is held in nightclubs, casinos, hotels and bars. Establishing a casino and gambling is a crime according to Turkish laws.[14][15] Such entertainment places have areas that appeal to many income levels, from the low-cost to the high-end. This situation has resulted in criticism of those who go to high-level entertainment areas, and the writer Cüneyt Ülsever said: "How do they earn, not how do they spend?" [16]

Movies with sexual themes

Help
Wikipedia, the free encyclopedia

Subcategories

10 out of 10 sub-categories are here.

Movies with sexual themes‎ (10 C, 14 M)

Movies about cheating‎ (35 P)

Movies about virginity‎ (27 P)

Movies about prepubertal sexuality‎ (3 P)

Movies with the theme of prostitution‎ (3 C, 23 P)

Movies about rape‎ (2 C, 30 M)

Movies about sexual abuse‎ (2 C, 2 M)

Movies about pornography‎ (5 P)

Pages in category "Movies with a sexual theme"

There are 14 pages in total in this category and 14 of them are currently visible.

Mother and Whore
Love (movie, 2013)

Boogie Nights

Don't Touch Me

Goodbye Las Vegas
A Married Woman

Fifty Shades of Grey (film)

Happening (movie)

Fifty Shades Darker (film)
Accident Night

The Devil's After Me

Rambling Rose (movie)

The Bargee

XXY (movie)

Movies about BDSM‎ (1 C)
Incest movies‎ (32 P)
Movies with the theme of pedophilia‎ (15 P)

Pornography (porn for short) refers to sexual subject only as sex. l is described for the purpose of stimulation.[1] Pornography can be presented in a variety of media, such as magazines, animation, writing, movies, videos, and video games. This definition does not include live shows such as sex shows and striptease. The primary subjects of today's pornographic depictions are pornographic models posing for still photographs and pornographic actors performing filmed sexual acts.

Various groups in society have considered depictions of a sexual nature immoral, addictive, and harmful, and have sought to block, censor, or make it illegal under obscenity laws. Such justifications, and even the definition of pornography, have varied in various historical, cultural and national contexts. Societal attitudes towards the discussion and presentation of sexuality have become more tolerant in Western countries, and legal definitions of obscenity have become more limited with Andy Warhol's Blue Movie, the first adult heroic film to depict sexual intercourse, which was released widely in the United States in 1969. has arrived. This was followed by a period called the Golden Age of Porn, when pornographic films became a part of the mainstream culture and described as the golden age of porn (1969-1984).[2]

20. In the second half of the century, a growing industry developed for the production and consumption of pornography. With the advent of video players and the Internet, the worldwide pornography industry has exploded, generating billions of dollars a year.[3] The size of the pornography market in the USA is between 10 and 12 billion dollars.[4] In 2006, world pornography revenue was $97 billion. This industry employs thousands of players as well as support and production staff. It is also followed by private sector publications and trade groups, award shows, mainstream press, private organizations (monitoring groups), government institutions and political organizations. Videos containing non-consensual content and cybersex trafficking are hosted on popular 21st century pornography sites.[5][6][7][8]

Contents

1 History
2 Classification

2.1 Subgenres

3 Commercial attitudes

3.1 Economics
3.2 Technology
3.3 Computer generated images and manipulations
3.4 3D pornography
3.5 Production and distribution by region

4 Study and analysis
5 Laws and regulations

5.1 What is pornography
5.2 Copyright status

6 Sexually transmitted diseases prevention and birth control methods
7 Views on pornography

7.1 Feminist views
7.2 Religious views
7.3 Women in the industry

8 See Also
9 Resources

History

The erosal scene on the edge of the Attic red-figure kylix, near 510 BC

As seen in Venus figurines and stone art, depictions of a sexual nature have existed since prehistoric times.[9] Numerous explicit artifacts depicting openly heterosexual sex have been found from ancient Mesopotamia.[10][11]

Glyptic art from the Sumerian Early Dynastic Period often shows frontal sex scenes in the missionary position.[10] On votive plates of Mesopotamia dating from the early 2nd millennium BC, the man is usually shown entering the woman from behind while drinking beer with a straw.[10] Middle Assyrian pioneer votive figures usually represent the man standing on top of an altar, holding the woman up and entering the woman.[10] Scholars have traditionally interpreted all these depictions as ritual sex scenes,[10] but they are more associated with the cult of Inanna, the goddess of sex and prostitution.[10] Also, in the temple of Inanna in Assyria,[10] many sexually explicit images were found, including models of male and female genitalia.[10]

The oil lamp painting depicting the dog-style sexual position

Descriptions of sexual intercourse were not part of the general repertoire of ancient Egyptian formalism,[12] but primitive sketches of heterosexual intercourse have been found in pottery and graffiti.[12] The last two-thirds of the Turin Erotic Papyrus (Papyrus 55001), an Egyptian papyrus scroll found at Deir el-Medina,[12] consists of a series of twelve vignettes depicting men and women in various sexual positions. The parchment was probably painted during the Ramesside period (1292-1075 BC) and its high artistic quality indicates that it was produced for a wealthy audience. No similar scrolls have been found yet.[12]

Fanny Hill (1748) is considered "the first original English prose pornography and the first to use the form of the novel". Memoirs of a Woman of Pleasure is an epic novel by John Cleland, first published in England. It is one of the most tried and banned books in history. The authors were accused of "deviating the king's nationality".

When large-scale excavations were carried out at Pompeii in the 1860s, much of the Roman eros art came to light and found themselves in the moonlight of the Roman Empire. It shocked the Victorians, who saw them as the heirs of religion. They clearly didn't know what to do with their depictions of sexuality and tried to keep them away from everyone but upper-class scientists. It was locked in the Secret Museum in Naples and those who could not be removed were covered and cordoned off so as not to disturb the sensibility of women, children and the working class.

After the contemporary invention of photography, photographic pornography was born. The class of Parisian prostitutes included an early patron, Charles de Morny, minister to Napoleon III, who exhibited photographs at large gatherings.[13]

The world's first law criminalizing pornography was the English Obscene Publications Act of 1857, enacted at the insistence of the Society for the Suppression of Vice. The law, which applies to the United Kingdom and Ireland, makes the sale of lewd material a legal offense, empowering courts to seize and destroy offensive material. The American equivalent was the Comstock act of 1873, which made it illegal to send any "lewd, indecent, and/or lewd" material by mail.[14] English law did not apply to Scotland, where common law continued to apply. However, neither British nor United States law defined what was "disgusting", leaving it for the courts to determine.

Prior to British law, the publication of lewd material was considered a misdemeanor in common law, and it was difficult to prosecute authors and publishers effectively, even where the material was clearly intended as pornography. Although nineteenth-century laws eventually outlawed the publication, retail sale, and smuggling of certain articles and images deemed pornographic, and mandated the destruction of shops and warehouses for sale, private ownership and viewing of some forms of pornography did not criminalize until the twentieth century.

Historians have explored the role of pornography in social history and its history to the actor. His Victorian stance that pornography was for the chosen few is in the terms of the Hicklin test, which stemmed from a trial in 1868: "Is the tendency of the question accused of lewdness to debase and corrupt those whose minds are susceptible to such immoral influences?" Despite their suppression, heroic imagery depictions were common throughout history.

At the Pilgrim Theater on Washington Street, Dr. Marquee showing Sex (1964)

Just after the invention of the motion picture in 1895, pornographic film production began. Two of the early pioneers were Eugène Pirou and Albert Kirchner. Kirchner directed the oldest surviving pornographic film under the trade name "Léar" for Pirou. The 1896 film Le Coucher de la Mariée showed Louise Willy doing a striptease. Pirou's film inspired racy French films showing women robbing, and other filmmakers realized that such films could be profited from.[15][16]

The producers and distributors of sexually explicit films are prosecuted. Such films were produced illegally by amateurs starting in the 1920s, especially in France and the United States. The processing of the film was as risky as its distribution. The distribution was strictly private.[17] In 1969 Denmark became the first country to decriminalize pornography, resulting in a boom in investment and commercially produced pornography. However, it continued to be banned in other countries and had to be smuggled in where it was sold "under the counter" or (sometimes) shown at "members only" movie clubs. However, in 1969 Andy Warhol's Blue Movie was the first adult heroic film to portray open sexual intercourse to be released widely in the United States.[2] The film was a groundbreaking film in the Golden Age of Porn and was, according to Warhol, a major influence in the making of Last Tango in Paris, an internationally controversial erotica drama starring Marlon Brando, and several years after the Blue Movie. released later.[2]

The 2015 data show an increase in pornography viewing over the past few decades, which is attributed to the growth of mainstream network pornography since widespread public access to the worldwide web in the late 1990s.[18] During the 2010s,[19] many pornographic production companies and top pornographic websites (such as PornHub, RedTube, and YouPorn) were acquired by MindGeek, which described it as a "monopoly."[20]

Academic study of pornography in cultural studies, in particular, is limited, perhaps because of the debate on the subject in the women's movement. Porn Studies, the peer-reviewed academic journal on the study of pornography, was published in 2014.[21]

A selection of pornographic magazines confiscated by customs authorities in 1969

Classification

Two pornography actors preparing to shoot scenes for an adult movie

Pornography is often gendered Distinguished from erotica, which consists of the depiction of majesty with high artistic aspirations, while also focusing on emotions and excitement, pornography involves striking depictions of actions, while the entire focus is on physical action to evoke rapid intense reactions.[22][23] A pornographic work qualifies as hardcore if it contains any hardcore content, no matter how small. Both types of pornography often contain nudity. Softcore pornography often includes nudity or partial nudity in sexually explicit sexual situations, but does not include explicit sexual activity, sexual introspection, or "extreme" fetishism,[24] while hardcore pornography may include graphic sexual activity and visible penetration, including unimpersonated sex scenes.[24] 25]

Subgenres

Pornography covers a wide variety of genres. Pornography involving heterosexual acts makes up the bulk of pornography and is "centered and invisible", marking the industry as heteronormative. However, a significant amount of pornography is non-normal and includes more non-traditional forms of scripting and sexual activity, such as "fat' pornography, amateur pornography, disability pornography, female-produced pornography, queer pornography, BDSM, and body modification."

Pornography, physical characteristics of the participants, fetish, sexual orientation, etc. as well as the prominent types of sexual activity can be classified according to. Fact and voyeur pornography, animated videos, and legally prohibited acts also affect the classification of pornography. Pornography can fall into more than one genre. Some examples of pornography genres:

Sub-pornography
Amateur pornography
Slavery pornography
Interracial pornography
Fetish pornography
group sex
Real pornography
Pornography parody
Sexual orientation-based pornography

Flat pornography
Gay pornography
Lover pornography
Bisexual pornography

Transgender pornography

Commercial attitude
Economics

The revenues of the adult industry in the United States are difficult to determine. In 1970, a federal study estimated the total retail value of hardcore pornography in the United States to be no more than $10 million. In 1998, Forrester Research published an article on the online "adult content" industry, estimating annual revenue of between $750 million and $1 billion. Research in 2001 totaled between $2.6 billion and $3.9 billion (including video, pay-per-view, public network, and magazines).[26]

As of 2014, the pornography industry was believed to generate more than $13 billion in annual revenue in the United States. CNBC estimates that pornography is a $13 billion industry in the US, with $3,075 spent every second on pornography, and a new pornography video is produced every 39 minutes.[27]

A significant amount of pornographic video has been shot in San Fernando Cove, which has been a pioneering area for adult filmmaking since the 1970s and has since become the home of various models, actors/actresses, production companies and various other businesses involved.

The pornography industry has been seen as instrumental in deciding format wars in the media, including the VHS-Betamax format war (videocassette format war)[28] and the Blu-ray-HD DVD format war (high-definition format war).[28]< /p>

Technology

Pornmakers have benefited from every technological advance in the production and distribution of visual images. Pornography is considered a driving force in the development of technologies, from printmaking to photography (still and motion), satellite television, home video, other types of video, and the general web.[29]

Commercial availability of small cameras and wireless suits has generated a "voyeuristic" pornography audience. Portable cameras are used to take pornographic photos or videos and are transmitted as MMS, an application known as sexual messaging.

Computer-generated images and manipulations

Digital manipulation requires the use of source photos, but some pornography is produced without human actors at all. The idea of purely computer-generated pornography was conceived very early on as one of the most obvious application areas for computer graphics and 3D rendering. Advances in technology have allowed photorealistic 3D figures to be used in interactive pornography.[30][31]

Until the late 1990s, digitally manipulated pornography was not produced cost-effectively. In the early 2000s, it became a growing segment as modeling and animation software matured and the visualization capabilities of computers improved. As of 2004, she has had children with fictional characters such as Lara Croft. Computer-generated pornography depicting sex and sexual situations has already been produced on a limited scale. The October 2004 issue of Playboy featured topless pictures of the title character from the video game BloodRayne.[32]

3D pornography

The first pornographic film shot in 3D was 3D Sex and Zen: Extreme Ecstasy, released in Hong Kong in April 2011.[33]

Production and distribution by region

A street stall selling pornography in Hong Kong

The production and distribution of pornography are economic activities of some importance. The full extent of the pornography economy and its influence in political circles is a matter of debate.

In the United States, the sex movie industry is centered in Los Angeles' San Fernando Creek. In Europe, Budapest is recognized as an industrial center.

Piracy, the illegal copying and distribution of material, is a major concern for the pornography industry, which is the subject of lawsuits, and for officialized anti-piracy efforts.

Study and analysis

Research into the effects of pornography is concerned with multiple outcomes. Such studies include rape, domestic violence, sexual dysfunction, difficulties in sexual relations, and latent effects on child sexual abuse.[34][35] While some source reviews suggest that pornographic images and movies can be addictive, there is insufficient evidence to draw conclusions.[36][37][38][39] Some studies conclude that the liberalization of pornography in society may be associated with reduced rates of rape and sexual violence, while others point to no effect or are inconclusive.[40][41][42]

Laws and regulations

World pornography map (18+) laws:
Pornography is legal
Pornography is legal, but with some restrictions
Pornography is illegal
No data
Pornographic entertainment is displayed in a sex shop window, where there is usually a minimum age to enter pornographic shops.

The legal status of pornography varies greatly from country to country. Most countries allow at least some form of pornography. In some countries, softcore pornography is considered tame enough to be sold in general stores or shown on television. On the other hand, hardcore pornography is often regulated. The production and sale, and to a lesser extent, possession of child pornography is illegal in almost all countries, and some countries have restrictions on pornography that depicts violence, such as rape pornography or animal pornography.

Most countries seek to limit minors' access to hardcore material, through sex shops, mail-order, and other means, as well as television channels that families can restrict. There is usually a minimum age to enter pornographic shops, or the material is partially covered or not displayed at all. More generally, it is generally illegal to spread pornography to a minor. Many of these efforts have been rendered practically unwarranted by the widely available public network pornography. A failed US law would have made the same restrictions apply to the public network.

Adult film industry regulations in California require all actors and actresses to practice safe sex using condoms. Condom use is rare in pornography.[43] Because pornography gets better when gamers are vulnerable, many companies are shooting in other states. Miami is a major area for amateur pornography. Twitter plays a big role in a player's success: because Twitter doesn't censor content, players can post freely without self-censorship, unlike Instagram and Facebook.

In the United States, a person receiving unsolicited commercial mail that they deem as pornographic (or otherwise offensive) may apply to the United States Postal Service for a prohibitive order against all mail from a particular sender or any mail of a sexual nature. . There are recurring urban legends of snuff movies where murders are filmed for pornographic purposes. Despite extensive studies to ascertain the veracity of these rumors, law enforcement found no such studies.

Some, including pornography producer Larry Flynt and Author Salman Rushdie, have argued that pornography is vital to freedom and that a free and civilized society should be judged by its willingness to accept pornography.

The UK government has criminalized the possession of what it calls "extreme pornography", following the highly publicized murder of Jane Longhurst.

Child pornography is illegal in most countries, and a child is usually under the age of 18 (although the age varies). In these countries, any film or photographic pornography that depicts a child in a sexual act is prohibited. are considered non-a.

Pornography can violate the basic human rights of those involved, especially when sexual consent is not obtained. For example, revenge pornography is a phenomenon in which disgruntled sexual partners post images or videos of intimate sexual activity, often on the public network, without the other person's consent.[44] Lawmakers also expressed concern about "upskirt" photos of women taken without their consent. In many countries, there has been a demand specifically to make such activities illegal by imposing higher penalties than simply infringing on privacy or image rights or circulating sexually explicit material.[45] As a result, some jurisdictions have enacted specific laws against "revenge pornography."[46]

What is not pornography

In the United States, a criminal case decision rendered in Massachusetts in July 2014, Commonwealth-Rex, 469 Mass. 36 (2014),[47] made a legal decision regarding what is not to be considered "pornography" and in this particular case "child pornography". It was determined that photos of nude children from sources such as National Geographic magazine, a social science textbook and a nudist catalog were not considered pornography even in the possession of a convicted and (at the time) imprisoned sex offender in Massachusetts.

The line being drawn depends on time and place: Western mainstream culture has become more and more "pornographic." (That is, including pornographic themes and unadulterated sexual acts tainted by mainstream movies.)

Some jurisdictions in the United States have applied US copyright protection to pornographic material.[48][49] Although the original US copyright law did not specifically cover lewd material, the jurisdiction was later abolished. Most pornographic works are theoretically for rent, meaning that pornographic models do not receive legal royalties for their performance. Particularly difficult is the changing community attitude towards what is considered racy: this means that works can enter and exit copyright protection based on the prevailing actor's standards. This was not an issue with copyright law until 1972, when copyright protection required registration. The law automated copyright protection for the life of the author.

Some jurisdictions have ruled that copyright protection effectively applies to works that are racy or not, but not all jurisdictions have ruled in the same way. The copyright protection rights of pornography in the United States were challenged again in February 2012.[48][50]

Sexually transmitted diseases prevention and birth control methods

According to the Netflix documentary Hot Girls Wanted, most pornographic film actors are screened for STDs every two weeks. However, actresses are not required to be on birth control. An actress who appeared in the documentary stated that after participating in a "creampie" shoot involving a vaginal ejaculation, she was instructed to purchase an emergency contraceptive pill, called Plan B, to protect herself from pregnancy. Since it is more profitable to take part in creampie scenes, women take the risk of getting pregnant.[51]

Opinions on pornography

A cartoon about the great pornography epidemic, 19th century French illustration

Opinions and opinions about pornography come in a variety of forms and from a variety of demographic and social groups. Opposition to the issue generally comes from three main sources, though not exclusively: law, the women's movement, and religion.

Feminist views

Many feminists, including Andrea Dworkin and Catharine MacKinnon, argue that pornography degrades or contributes to violence against women, both in terms of its production and consumption. They argue that the production of pornography requires physical, psychological, or economic coercion, in which they argue that the exploitation and exploitation of women performing is widespread; They argue that while they consume, pornography eroticizes the bullying, humiliation and oppression of women and reinforces the sexual and cultural attitudes that are complicit in rape and sexual harassment.[52]

Sex-exclusionary feminists show that pornography presents a severely distorted image of sexual intercourse and reinforces sex myths, making women always ready and willing to have sexual relations with any man, or with anyone who plays any male role, at any time. always responds positively to any kind of progress. Since pornography often shows that women enjoy and desire to be violently attacked by men, they say "no" when they really want sex, but only then begin to enjoy the act when they reciprocate, suggesting that legal issues such as consent are public opinion. They argue that this could affect their understanding.[53]

Contrary to these objections, other feminist scholars argue that the loving feminist movement in the 1980s was good for women in the pornography industry. As more women entered the developmental side of the industry, this allowed them to direct pornography towards women more because they knew what women wanted for the sake of actresses and audiences alike. This is believed to be a good thing because for too long the pornography industry has been dominated by men. This also fueled the advent of dating pornography for lovers rather than men.

Moreover, many feminists argue that the advent of VCRs, home video, and affordable consumer video cameras has allowed the possibility of feminist pornography.[54] Consumer videos made it possible for the distribution and consumption of video pornography to position women as legitimate pornography consumers. Tristan Taormino says that feminist pornography is "all about creating a fair workplace and empowering everyone involved." Feminist pornography directors are interested in challenging representations of men and women, as well as providing sexually empowering images that include many types of bodies.[54]

In an essay she wrote for The New Yorker in 1995, author Susan Faludi argued that pornography is one of the few industries where women are gaining power in the workplace: "One of the next men, Alec Metro, got a pathetic note from the X-rated industry. Metro, a former firefighter who claimed to have lost a job offer for affirmative action, has already predicted that pornography may not be an ideal career option to escape the powers of what she calls 'reverse discrimination'. Female actors can often determine which male actors to work with or not. 'They make more money than we do' .' Pornography—or at least for a heterosexual audience—is one of the few contemporary professions where the monthly difference is in favor of women, and the average actress earns fifty to one hundred percent more than her male counterpart, but then she is the object of desire, she is only its appendage, the object of the object. "

Harry Brod offered a Marxian feminist view: "I argue that sex is overrated because men seek sex to satisfy their non-sexual emotional needs, and this is a doomed quest. One of the reasons for this failure is the primacy of quantity over quality of sex and comes with the commodification of sexuality. "[55]

Religious views

Main article: Religious views on pornography

Religious organizations have been important in taking political action against pornography. In the United States, religious beliefs influence the formation of political beliefs concerning pornography.

Women in the industry

2012 "Why Become a Pornography Actress?" The study examined female pornographic film actresses and their reasons for choosing the profession, finding that the primary reasons were money (53%), sex (27%), and interest (16%). Participants also expressed their dislike of their work. Among them; people associated with industry who are "difficult to manage in demeanor, behavior and poor hygiene work environments" or are unscrupulous and unprofessional, (39%) - for example; such as co-workers, managers, producers, and representatives—there was a risk of sexually transmitted diseases (29%) and exploitation within industry (20%).[56]