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The Asian Media & Mass Communication Conference 2010 Osaka, Japan the iconography of the horror genre coming forth in the film. Dead ghost girl is the most wellknown icon of horror genre. In the film Araf, a cinema form which reminds classical Hollywood horror films is dominant. In the film, different points of views and plans were preferred but in the following parts of the film, an atmosphere like in Dark Water is tried to be created. In these parts, fixed camera and relatively long plans are preferred. In the film light was used to increase thrill and there is no effort to create a natural light effect. In shots outside color effects which vary according to feeling in scene and people’s perception of reality was broken. In the film, the influence of Hollywood in using effect is significant. Computer aided effects aiming to frighten viewers but they are far from being plausible. Araf uses the iconography of Hollywood horror genre: well-known spaces like graveyards, operation room, mental asylum and dead bird and fetus. One of the most significant icons unique to the genre used in the film are the lambs pending from the ceiling and creating a gloomy atmosphere by constantly swinging. In Araf just as in Dark Water inner spaces in the house like bedroom and bathroom were chosen as reliable and private spaces are used. Another similarity is that water is again associated with water. In the scene in which Eda meets the ghost of her dead daughter, she bends to the tap to wash her face. Similar to the video recording in the film Ringu as one of the well-known examples of Fareast horror genre, in Araf there is also a video recording which resolves the puzzle in Araf. Fear and death are the associated meanings of the video recording which proves the existence of the little girl. In common with Dark Water film, ‘the ghost of the dead girl’ appears to be the most important icon unique to Fareast horror genre and it is the most significant horrifying element as in the film Dark Water. 4. Conclusion: There are many reasons behind the increase in the number of horror films-whose examples are rarely seen previously- in the 2000s. In the 2000s, the increasing interest of Turkish cinema viewers to horror genre and the emergence of a new generation of director in Turkish cinema are significant factors. However, although it is possible to come across the beliefs in the films of these directors who do not have cinema tradition in horror genre, traditions, cultures of the society in which they live, it is seen that they imitate representation practices of foreign cinemas especially that of Hollywood originated horror films. After the 2000s, Fareast horror cinema’s starting to rise and attainment of significant commercial success carried Fareast horror genre to Hollywood with adaptations. The effect of Fareast 357
The Asian Media & Mass Communication Conference 2010 Osaka, Japan cinema on commercial Turkish cinema on which the influence of Hollywood is felt intensively on horror genre was mostly through Hollywood adaptations. The traces of influence are seen almost in all of the recent films in horror genre produced in Turkish cinema. The atmosphere oriented narration structure of Fareast horror genre which uses silence as horrifying element is not fully reflected in Hollywood adaptations with the influence of the traditions of the genre. This case also affected horror genre in Turkish cinema. Under the influence of traditional plot and cinematography of Hollywood horror genre, Turkish horror films end up to be films which have indirect traces from successful horror films examples from Fareast cinema. References Abisel, Nilgun.( 1999) Populer Sinema ve Turler, Istanbul: Alan Yayincilik Baris Coban. (2003). J. Lacan: Aynalar Sovalyesi ya da Bilincdisinin Kasifi. Kadife Karanlik I : 20. Yuzyil Iletisim Kuramcilari. Istanbul: Su Yayinlari. Bakir, Burak. (2009) Sinema ve Psikanaliz. Istanbul: Hayalet Yayinevi Colin, Odell. (2001). Horror Films, Harpenden, GBR: Pocket Essentials. http://site.ebrary.com/lib/ekonomi/Doc?id=5007504&ppg=13 Derman, Deniz. (1993). Jean- Luc Godard’ın Sinemasinda Kadinin Yeniden Sunumu. Istanbul: Degisim Ajans Giorgio Vincenti. (2007) Sinemanin Yuz Yili (Hundred Years of Cinema), Engin Ayca, (Trans.). Istanbul: Evrensel Yayinlari. Guchan, Gulseren. (1999) Tür Sinemasi, Goruntu ve Ideoloji. Eskisehir: Anadolu Universitesi Yayinlari. Guzel, Cem. Ceikcan, Peyami. (1996) Sinamatografik Turler Acisindan Turk Sinemasi. Gazi Universitesi İletisim Fakultesi Dergisi, sayı: 1, s. 225-237 Isiklar, Ulas. (2010) 2000’li Yillar Amerikan Sinemasinda Kadin Karakter Temsilleri. (Dilek Imancer Takimci Ed.) Medya Temsilleri. Ankara: Nobel Yayinlari Kutlu, Kutluhan. (2006) 2000’lerin Korku Sinemasi: Eski Adetlere Yeni Koyler. http://www.radikal.com.tr/ek_haber.php?ek=cts&haberno=6106.) Mannoni, Piere. (1995) Korku (Horror), Isın Gurbuz, (Trans.). Istanbul: Iletisim Yayinlari Ryan, Micheal. Douglas, Kellner. (1997) Politik Kamera (Camera Politica : The Politics And İdeology Of Contemporary Hollywood Film), Elif Ozsayar, (Trans.). Istanbul: Ayrinti Yayinlari. Scognamillo, Giovanni. (1996), Korkunun Sanatlari, Istanbul : Inkilap Kitabevi 358
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(Person) Percentage - Sabanci University Research Database

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