CENSORSHIP IN LIBYAN FILM AN CINEMA: AN ANALYSIS OF FILMMAKING BEFORE AND AFTER THE 2011 LIBYAN UPRISING / (Kayıt no. 292885)
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| 000 -BAŞLIK | |
|---|---|
| Sabit Uzunluktaki Kontrol Alanı | 03766nam a22002657a 4500 |
| 003 - KONTROL NUMARASI KİMLİĞİ | |
| Kontrol Alanı | KOHA |
| 005 - EN SON İŞLEM TARİHİ ve ZAMANI | |
| Kontrol Alanı | 20241008133100.0 |
| 008 - SABİT UZUNLUKTAKİ VERİ ÖGELERİ - GENEL BİLGİ | |
| Sabit Alan | 240927d2024 cy ||||| |||| 00| 0 eng d |
| 040 ## - KATALOGLAMA KAYNAĞI | |
| Özgün Kataloglama Kurumu | CY-NiCIU |
| Kataloglama Dili | eng |
| Çeviri Kurumu | CY-NiCIU |
| Açıklama Kuralları | rda |
| 041 ## - DİL KODU | |
| Metin ya da ses kaydının dil kodu | eng |
| 090 ## - Yerel Tasnif No | |
| tasnif no | D 447 |
| Cutter no | A28 2024 |
| 100 1# - KİŞİ ADI | |
| Yazar Adı (Kişi adı) | Abuaniza, Abdulhamid M. A. |
| 245 10 - ESER ADI BİLDİRİMİ | |
| Başlık | CENSORSHIP IN LIBYAN FILM AN CINEMA: AN ANALYSIS OF FILMMAKING BEFORE AND AFTER THE 2011 LIBYAN UPRISING / |
| Sorumluluk Bildirimi | ABDULHAMID M. A. ABUANIZA ; SUPERVISOR, PROF. DR. JONATHAN STUBBS |
| 264 ## - PRODUCTION, PUBLICATION, DISTRIBUTION, MANUFACTURE, AND COPYRIGHT NOTICE | |
| Date of production, publication, distribution, manufacture, or copyright notice | 2024 |
| 300 ## - FİZİKSEL TANIMLAMA | |
| Sayfa, Cilt vb. | 153 sheets ; |
| Boyutları | 30 cm |
| Birlikteki Materyal | +1 CD ROM |
| 336 ## - CONTENT TYPE | |
| Source | rdacontent |
| Content type term | text |
| Content type code | txt |
| 337 ## - MEDIA TYPE | |
| Source | rdamedia |
| Media type term | unmediated |
| Media type code | n |
| 338 ## - CARRIER TYPE | |
| Source | rdacarrier |
| Carrier type term | volume |
| Carrier type code | nc |
| 502 ## - TEZ NOTU | |
| Tez Notu | Thesis (PhD) - Cyprus International University. Institute of Graduate Studies and Research Communication and Media Studies |
| 520 ## - ÖZET NOTU | |
| Özet notu | Libya as a country has been associated over the course of history with distinct<br/>periodization of administrations and systems of government. One of its most distinctive<br/>administrations is the Gaddafi administration which started in 1969, and ended with the<br/>Arab spring triggered Libya 2011 revolution. The administration was associated with<br/>severe censorship on its media, including the film and cinema. Censorship policies and<br/>punishment for not adhering to the policies were severe in the context of human rights<br/>policies. This research carries out an investigation into the Libyan censorship from its<br/>inception as a country and the birth of its film and cinema, and how it evolved over the<br/>years. This research investigated “the state of censorship in Libya” for three distinct<br/>periods of the cinema and film industry; Pre-Gaddafi, Pre-2011 revolution Libya, and<br/>Post-2011 revolution Libya. This research reports “the factor that have contributed to,<br/>shaped, and impacted censorship in Libya”. Using an extensive “qualitative research<br/>method” which thoroughly investigates the censorship in Libya. This research is designed<br/>and carried out using Libya’s cinema industry as a case study. The choice of using this<br/>case study is based on the research proposal of investigating a real-life context<br/>phenomenon; Libya’s censorship of film. The findings of this study have shown the film<br/>and cinema in Libya are defined by some underlying factors in censorship which are not<br/>peculiar to Libya alone but are however associated with most of the Arab world due to<br/>shared sociocultural values. The factors are however reflected in the censorship state of<br/>the country in different dimensions throughout the three periods of the country. The state<br/>of censorship in Libya's film industry has evolved significantly across three distinct time<br/>periods: pre-Gaddafi Libya, Gaddafi-led Libya, and post-Gaddafi Libya. Pre-Gaddafi<br/>cinema flourished with artistic expression despite sociocultural influences. Under<br/>Gaddafi's rule, severe censorship was imposed, driven by the regime's dictatorship and<br/>political agendas, coupled with societal norms. Post-Gaddafi, expectations for creative<br/>freedom soared, but censorship persists, now influenced by Islamist ideals, challenging<br/>democratic principles. Despite risks, including security concerns and power outages,<br/>filmmakers persist, showcasing resilience and optimism. Many opt to work in Egypt,<br/>leveraging stability while maintaining Libyan identity. Through innovation and<br/>determination, Libyan filmmakers strive to preserve their art and foster industry growth.<br/>Their perseverance not only sustains their craft but also inspires empathy and positive<br/>change amidst adversity.<br/><br/> |
| 650 #0 - KONU BAŞLIĞI EK GİRİŞ - KONU TERİMİ | |
| Konusal terim veya coğrafi ad | Communication and Media Studies |
| Alt başlık biçimi | Dissertations, Academic |
| 700 1# - EK GİRİŞ - KİŞİ ADI | |
| Yazar Adı (Kişi adı) | Stubbs, Jonathan |
| İlişkili Terim | supervisor |
| 942 ## - EK GİRİŞ ÖGELERİ (KOHA) | |
| Sınıflama Kaynağı | Dewey Onlu Sınıflama Sistemi |
| Materyal Türü | Thesis |
| Geri Çekilme Durumu | Kayıp Durumu | Sınıflandırma Kaynağı | Kredi için değil | Koleksiyon Kodu | Kalıcı Konum | Mevcut Konum | Raf Yeri | Kayıt Tarih | Source of acquisition | Toplam Ödünçverme | Yer Numarası | Demirbaş Numarası | Son Görülme Tarihi | Kopya Bilgisi | Fatura Tarihi | Materyal Türü | Genel / Bağış Notu |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Onlu Sınıflama Sistemi | Tez Koleksiyonu | CIU LIBRARY | CIU LIBRARY | Depo | 27.09.2024 | Bağış | D 447 A28 2024 | T3906 | 27.09.2024 | C.1 | 27.09.2024 | Thesis | Communication and Media Studies | ||||
| Dewey Onlu Sınıflama Sistemi | Tez Koleksiyonu | CIU LIBRARY | CIU LIBRARY | Görsel İşitsel | 27.09.2024 | Bağış | D 447 A28 2024 | CDT3906 | 27.09.2024 | C.1 | 27.09.2024 | Suppl. CD | Communication and Media Studies |