{"id":5613,"date":"2025-07-04T22:36:29","date_gmt":"2025-07-04T19:36:29","guid":{"rendered":"https:\/\/www.insanveinsan.org\/?p=5613"},"modified":"2025-07-04T22:36:29","modified_gmt":"2025-07-04T19:36:29","slug":"perdenin-arkasindaki-makas-yesilcam-sinemasinda-gayri-resmi-sansur","status":"publish","type":"post","link":"https:\/\/www.insanveinsan.org\/en\/perdenin-arkasindaki-makas-yesilcam-sinemasinda-gayri-resmi-sansur\/","title":{"rendered":"The Scissors Behind the Screen: Unofficial Censorship in Ye\u015fil\u00e7am Cinema"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: justify; font-size: 15px\"><strong>Ferhat Zengin \/ Bahad\u0131r Kap\u0131r<\/strong><\/p>\n<p style=\"text-align: justify; font-size: 15px\"><strong>Abstract: <\/strong> This research examines unofficial censorship interventions in cinema establishments during the Ye\u015fil\u00e7am period. The study centers on experiences of film projectionists, who constitute the critical link in Turkish cinema&#8217;s exhibition chain. Projectionists, holding strategic positions within cinema culture and operational dynamics, witnessed social transformations in viewing practices through their technical expertise and authority to intervene in film content, while playing an active role in this process. In this qualitative research with phenomenological approach, semi-structured interviews were conducted with 42 veteran projectionists using snowball sampling. Findings reveal that censorship practices were implemented on films that passed official boards without rights holders&#8217; knowledge. Projectionists directly performed the majority of these interventions, while some were applied following cinema management instructions. Unofficial intervention practices were systematically operated through changing film titles and posters, duration cuts, scene removals, additional material insertions, and blackout techniques.<\/p>\n<p style=\"text-align: justify; font-size: 15px\"><strong>Keywords: <\/strong> Censorship, Ye\u015fil\u00e7am, Film Projectionist, Cinema Operations, Turkish Cinema<\/p>\n<table bgcolor=\"transparent\">\n<tbody>\n<tr>\n<td style=\"border-bottom: 1px dashed gray;\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\">Ferhat Zengin \/ Bahad\u0131r Kap\u0131r<\/span><br \/>\n<span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"> <a href=\"https:\/\/doi.org\/10.29224\/insanveinsan.1658336\">DOI: 10.29224\/insanveinsan.1658336<\/a><\/span><br \/>\n<span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"><a title=\"Issue 40, Summer 2025\" href=\"\/en\/sayi-40-yaz-2025\/\">Year 12, Issue 40, Summer 2025<\/a><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-119 size-full\" src=\"\/wp-content\/uploads\/pdf-e1407190133528.png\" alt=\"\" width=\"50\" height=\"50\" \/><br \/>\n<span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\">Tam metin \/ Full text<br \/>\n(Turkish)<\/span><\/p>\n<div style=\"width: 230px;\">\n<span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"><\/p>\n<div style=\"float: left; width: 20px;\"><img decoding=\"async\" style=\"border-width:0\" src=\"\/wp-content\/uploads\/izleme-icon.png\"><\/div>\n<p><span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"><\/span><\/p>\n<div style=\"float: left; width: 40px;\">[post-views]<\/div>\n<div style=\"float: left; width: 20px;\"><img decoding=\"async\" style=\"border-width:0\" src=\"\/wp-content\/uploads\/indirme-icon.png\"><\/div>\n<div style=\"float: left; width: 145px;\"><span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"><div class=\"sdm_download_count\"><span class=\"sdm_count_number\">322<\/span><span class=\"sdm_count_string\"> Downloads<\/span><\/div><\/span><\/div>\n<p><br style=\"clear: left;\"><\/p>\n<p><\/span><\/div>\n<div class=\"sdm_download_button_box_default\"><div class=\"sdm_download_link\"><a href=\"https:\/\/www.insanveinsan.org\/?sdm_process_download=1&download_id=5590\" class=\"sdm_download grey\" title=\"(Turkish) 40-4 Ferhat Zengin &#8211; Bahad\u0131r Kap\u0131r\" target=&quot;_blank&quot;>Download Now!<\/a><\/div><\/div>\n<table bgcolor=\"transparent\">\n<tbody>\n<tr>\n<td style=\"border-bottom: 1px dashed gray;\"><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span style=\"text-decoration: none; font-variant: normal; font-weight: normal; font-stretch: normal; font-size: 15px; line-height: normal; font-family: 'minion pro', arial, sans-serif;\"> <a rel=\"license\" href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/\"><img decoding=\"async\" alt=\"Creative Commons License\" style=\"border-width:0\" src=\"https:\/\/i.creativecommons.org\/l\/by-nc\/4.0\/80x15.png\" \/><\/a><br \/>This work is licensed under a <a rel=\"license\" href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/\">Creative Commons Attribution-NonCommercial 4.0 International License<\/a>.<\/span><br \/>\n<\/p>","protected":false},"excerpt":{"rendered":"<p>Ferhat Zengin \/ Bahad\u0131r Kap\u0131r Abstract: This research examines unofficial censorship interventions in cinema establishments during the Ye\u015fil\u00e7am period. The study centers on experiences of film projectionists, who constitute the critical link in Turkish cinema&#8217;s exhibition chain. Projectionists, holding strategic positions within cinema culture and operational dynamics, witnessed social transformations in viewing practices through their &hellip; <a href=\"https:\/\/www.insanveinsan.org\/en\/perdenin-arkasindaki-makas-yesilcam-sinemasinda-gayri-resmi-sansur\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">The Scissors Behind the Screen: Unofficial Censorship in Ye\u015fil\u00e7am Cinema<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[112],"tags":[],"class_list":["post-5613","post","type-post","status-publish","format-standard","hentry","category-sayi-40-yaz-2025"],"_links":{"self":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5613","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/comments?post=5613"}],"version-history":[{"count":1,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5613\/revisions"}],"predecessor-version":[{"id":5614,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/5613\/revisions\/5614"}],"wp:attachment":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/media?parent=5613"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/categories?post=5613"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/tags?post=5613"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}