Giray Akyunak, Asli

Profile Picture
Profile URL
https://gcris.yasar.edu.tr/handle/123456789/12457
Name Variants
Asli Giray Akyunak
Job Title
Dr.Öğr.Üyesi
Email Address
Main Affiliation
01.01.08.03. Müzik Bölümü
Status
Former Staff
Website
ORCID ID
0000-0002-4902-5562
Scopus Author ID
Turkish CoHE Profile ID
Google Scholar ID
WoS Researcher ID
CSN-6847-2022

Sustainable Development Goals

SDG data is not available
This researcher does not have a Scopus ID.
Documents

1

Citations

0

Go to WoS profile
Scholarly Output

1

Articles

1

Views / Downloads

0/0

Supervised MSc Theses

0

Supervised PhD Theses

0

WoS Citation Count

0

Scopus Citation Count

0

Patents

0

Projects

0

WoS Citations per Publication

0.00

Scopus Citations per Publication

0.00

Open Access Source

0

Supervised Theses

0

JournalCount
Sanat & Tasarım Dergisi1
Current Page: 1 / 1

Scopus Quartile Distribution

Quartile distribution chart data is not available

Competency Cloud

GCRIS Competency Cloud

Filters

20171
Reset filters

Settings

Scholarly Output Search Results

Now showing 1 - 1 of 1
  • Thumbnail Image
    Article
    INTERTEXTUALITY AND THE LEADING ROLE OF MUSIC IN VISCONTI'S FILM DEATH IN VENICE
    (ANADOLU UNIV, 2017) Asli Giray Akyunak; Giray Akyunak, Asli; Akyunak, Aslı Giray
    Italian film director Luchino Visconti and his anthropomorphic films took into account the passionate and consuming nature of humans and mostly chose defeated heros as their main characters. In his film Death in Venice (1971) adapted from Thomas Mann's short novel of the same name (1912) he tells the story of the death of an artist and its relation to the closure of an era at the fin de siecle. The film constructs a web of intertextual relations and quotations from cultural history literature and music. Visconti's choice of non-diegetic music for the film is Mahler's third and fifth symphonies. This is no coincidence that Mahler and the main character Gustav von Aschenbach have many things in common. Mahler's music represents the life spiritual state and inner voice of Aschenbach hence playing a leading role in the film. The dichotomies and ambiguities in the film can also be traced in Mahler's music adding to the power and effect of the narration. This study examines intertextuality in Visconti's masterpiece and aims to provide a different perspective on the use of music in film.