\u0130LET\u0130\u015e\u0130M \u00c7ALI\u015eMALARI DERG\u0130S\u0130<\/strong><\/p>\n

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DOI:\u00a0<\/strong>10.17932\/IAU.ICD.2015.006\/2026.1203<\/p>\n<\/i> \u0130CD Eyl\u00fcl 2026<\/span><\/a>\n<\/i> Edit\u00f6r Mesaj\u0131<\/span><\/a>\n
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\nAra\u015ft\u0131rma Makaleleri<\/strong><\/p>\n
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GAZETELERDE YAYIMLANAN UYU\u015eTURUCU-UYARICI MADDE VE MADDE BA\u011eIMLILI\u011eI \u0130LE \u0130LG\u0130L\u0130 HABERLER\u0130N \u0130NCELENMES\u0130<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n
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EXAMINATION OF DRUG, STIMULANT AND SUBSTANCE ADDICTION NEWS PUBLISHED IN NEWSPAPERS<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n
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Abd\u00fclsamet KARAOSMANO\u011eLU<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n
<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
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TELEV\u0130ZYON ANLATISININ PLATFORMLA\u015eMASI: YAYIN AKI\u015eI, ALGOR\u0130TM\u0130K K\u00dcRASYON VE \u0130ZLEY\u0130C\u0130 DENEY\u0130M\u0130<\/strong><\/p>\n
THE PLATFORMIZATION OF TELEVISION NARRATIVE: BROADCAST FLOW, ALGORITHMIC CURATION, AND VIEWER EXPERIENCE<\/em><\/p>\n
Ahmet \u00d6Z\u00c7\u0130FT\u00c7\u0130<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n
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D\u0130J\u0130TAL S\u0130NEMA \u00d6RNE\u011e\u0130 SEN\u0130 BULDUM YA! F\u0130LM\u0130NE GER\u00c7EKL\u0130K BA\u011eLAMINDA BAKMAK<\/strong><\/p>\n
A DIGITAL CINEMA EXAMPLE: EXAMINING THE FILM SEN\u0130 BULDUM YA! IN THE CONTEXT OF REALITY<\/em><\/p>\n
Hacer Sena \u00d6ZT\u00dcRK<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n
<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
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S\u00dcRREAL\u0130ST ESTET\u0130KTE PLAST\u0130K B\u0130R UNSUR OLARAK G\u00d6RSEL R\u0130T\u0130M: REN\u00c9 MAGR\u0130TTE\u2019\u0130N GOLCONDA TABLOSU VE ALEJANDRO JODOROWSKY S\u0130NEMASI \u00dcZER\u0130NE SE\u00c7\u0130L\u0130 ESERLER ODAKLI KAR\u015eILA\u015eTIRMALI B\u0130R ANAL\u0130Z<\/strong><\/p>\n
VISUAL RHYTHM AS A PLASTIC ELEMENT IN SURREALIST AESTHETICS: A COMPARATIVE ANALYSIS FOCUSED ON SELECTED WORKS OF REN\u00c9 MAGRITTE\u2019S GOLCONDA AND ALEJANDRO JODOROWSKY\u2019S CINEMA<\/em><\/p>\n
Melis YILDIZIV\u0130RAN<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n
<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
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POP\u00dcLER S\u0130NEMADA MAV\u0130 G\u00d6Z TEMS\u0130L\u0130: IMDB TOP 200 F\u0130LMLER\u0130 \u00dcZER\u0130NE SOSYOLOJ\u0130K B\u0130R ANAL\u0130Z<\/strong><\/p>\n
REPRESENTATION OF BLUE EYES IN POPULAR CINEMA: A SOCIOLOGICAL ANALYSIS OF IMDB TOP 200 FILMS<\/em><\/p>\n
Ayd\u0131n PERKTA\u015e<\/p>\n
Sait YILDIRIM<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n
<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\u0130CD EYL\u00dcL 2026 C\u0130LT 12 SAYI 3 DOI L\u0130STES\u0130<\/strong><\/td>\n <\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
\u0130STANBUL AYDIN \u00dcN\u0130VERS\u0130TES\u0130 \u0130LET\u0130\u015e\u0130M \u00c7ALI\u015eMALARI DERG\u0130S\u0130 \u0130CD EYL\u00dcL 2026 ISSN:\u00a02149-486X e-ISSN:\u00a02717-8617 Cilt: 12\u00a0 –\u00a0 Say\u0131: 3…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284"}],"collection":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/comments?post=284"}],"version-history":[{"count":89,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284\/revisions"}],"predecessor-version":[{"id":1661,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284\/revisions\/1661"}],"wp:attachment":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/media?parent=284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

\n \n \n \n GAZETELERDE YAYIMLANAN UYU\u015eTURUCU-UYARICI MADDE VE MADDE BA\u011eIMLILI\u011eI \u0130LE \u0130LG\u0130L\u0130 HABERLER\u0130N \u0130NCELENMES\u0130<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n \n \n \n EXAMINATION OF DRUG, STIMULANT AND SUBSTANCE ADDICTION NEWS PUBLISHED IN NEWSPAPERS<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n \n \n \n Abd\u00fclsamet KARAOSMANO\u011eLU<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\n \n \n \n TELEV\u0130ZYON ANLATISININ PLATFORMLA\u015eMASI: YAYIN AKI\u015eI, ALGOR\u0130TM\u0130K K\u00dcRASYON VE \u0130ZLEY\u0130C\u0130 DENEY\u0130M\u0130<\/strong><\/p>\n *THE PLATFORMIZATION OF TELEVISION NARRATIVE: BROADCAST FLOW, ALGORITHMIC CURATION, AND VIEWER EXPERIENCE<\/em><\/p>\n* *Ahmet \u00d6Z\u00c7\u0130FT\u00c7\u0130<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n*	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\n \n \n \n D\u0130J\u0130TAL S\u0130NEMA \u00d6RNE\u011e\u0130 SEN\u0130 BULDUM YA! F\u0130LM\u0130NE GER\u00c7EKL\u0130K BA\u011eLAMINDA BAKMAK<\/strong><\/p>\n *A DIGITAL CINEMA EXAMPLE: EXAMINING THE FILM SEN\u0130 BULDUM YA! IN THE CONTEXT OF REALITY<\/em><\/p>\n* *Hacer Sena \u00d6ZT\u00dcRK<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n*	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\n \n \n \n S\u00dcRREAL\u0130ST ESTET\u0130KTE PLAST\u0130K B\u0130R UNSUR OLARAK G\u00d6RSEL R\u0130T\u0130M: REN\u00c9 MAGR\u0130TTE\u2019\u0130N GOLCONDA TABLOSU VE ALEJANDRO JODOROWSKY S\u0130NEMASI \u00dcZER\u0130NE SE\u00c7\u0130L\u0130 ESERLER ODAKLI KAR\u015eILA\u015eTIRMALI B\u0130R ANAL\u0130Z<\/strong><\/p>\n VISUAL RHYTHM AS A PLASTIC ELEMENT IN SURREALIST AESTHETICS: A COMPARATIVE ANALYSIS FOCUSED ON SELECTED WORKS OF REN\u00c9 MAGRITTE\u2019S GOLCONDA AND ALEJANDRO JODOROWSKY\u2019S CINEMA<\/em><\/p>\n *Melis YILDIZIV\u0130RAN<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n*	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\n \n \n \n POP\u00dcLER S\u0130NEMADA MAV\u0130 G\u00d6Z TEMS\u0130L\u0130: IMDB TOP 200 F\u0130LMLER\u0130 \u00dcZER\u0130NE SOSYOLOJ\u0130K B\u0130R ANAL\u0130Z<\/strong><\/p>\n *REPRESENTATION OF BLUE EYES IN POPULAR CINEMA: A SOCIOLOGICAL ANALYSIS OF IMDB TOP 200 FILMS<\/em><\/p>\n* *Ayd\u0131n PERKTA\u015e<\/p>\n* *Sait YILDIRIM<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n*	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n
\u0130CD EYL\u00dcL 2026 C\u0130LT 12 SAYI 3 DOI L\u0130STES\u0130<\/strong><\/td>\n	<\/i> PDF<\/span><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n","protected":false},"excerpt":{"rendered":" \u0130STANBUL AYDIN \u00dcN\u0130VERS\u0130TES\u0130 \u0130LET\u0130\u015e\u0130M \u00c7ALI\u015eMALARI DERG\u0130S\u0130 \u0130CD EYL\u00dcL 2026 ISSN:\u00a02149-486X e-ISSN:\u00a02717-8617 Cilt: 12\u00a0 –\u00a0 Say\u0131: 3…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284"}],"collection":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/comments?post=284"}],"version-history":[{"count":89,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284\/revisions"}],"predecessor-version":[{"id":1661,"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/pages\/284\/revisions\/1661"}],"wp:attachment":[{"href":"https:\/\/icd.aydin.edu.tr\/tr\/wp-json\/wp\/v2\/media?parent=284"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}