“Live from the scene” has always been a key element for the broadcast media in attracting large audiences. This attraction, referred to as the sense of being there or the aspect of immediacy, has always led the broadcasting industry to embrace the latest technology. Digital technology provides great opportunities regarding live from the scene capabilities, not only for traditional media but also for new media. The term “live broadcast” in traditional media has been replaced by “live streaming” in new media. To date, the relationship of live streaming with concepts such as citizen journalism, new media, alternative media have been subject to several studies. As a popular live streaming application, what does Periscope offer to citizen journalism? What does Periscope mean for professional journalism? In this study, considering the answers to these questions, a quantitative content analysis was conducted on live streamings of a sample composed of professional and citizen reporters in Turkey which were streamed through Periscope application in a one-month period and conclusions were drawn regarding the potential that Periscope represents. Live streamings in the sample were categorized into old media format/new media format, inside/outside, breaking/non-breaking, by professional/by citizen, news/ non-news; and durations and audience shares of these categories were compared to conclude on the broadcast formats to which Periscope offers the highest potential.

Turkiye’de tarihi camilerin cogu vakif kokenli olup, restorasyonlari mulkiyet durumuna gore Vakiflar Genel Mudurlugunce gerceklestirilmektedir. Bu arastirma kapsaminda da Eskisehir, Gunyuzu, Kuzoren Koyu Camii, kirsal dini mimari degerleri acisindan incelenmis ve yapida 2016 yilinda Vakiflar Genel Mudurlugunce gerceklestirilen restorasyon uygulamalari aktarilmistir. 19. yuzyil sonu 20. yuzyil basina tarihlenen Kuzoren Koyu Camii, kareye yakin dikdortgen planli bir ibadet bolumu ile kuzey cephede ahsap dikmeli acik bir son cemaat yerinden olusmaktadir. Moloz tas, ahsap, kamis, toprak ve benzeri yoresel malzeme kullanimi, bagdadi kubbe, kemer, ahsap dikme ve benzeri geleneksel yapim elemanlari, renkli bezemeli ic mekân algisi ve asimetrik pencere duzeni yapinin baslica kirsal mimari degerleridir. Moloz tas beden duvarlari olan camide, ozellikle ic mekânda mahfil, minber, tavan ve benzeri yapi ogelerinde ahsap, agirlikli olarak kullanilmistir. Kuzoren Koyu Camii mimarlik ve sanat tarihi acisindan cesitli kaynaklarda incelenmis olmasina ragmen, yapinin son onarimlarda ortaya cikarilan ve daha once deginilmeyen verileri bu calisma kapsaminda ortaya konmustur. Ayrica bu calisma ile yoresel malzeme kullanimi, yapim teknigi ve ozgun mimari ogelerini koruma anlaminda kirsal dini mimarinin bir ornegi olan Kuzoren Koyu Camii’nin, alaninda az calisma yapilan kirsal dini mimari orneklerine katki sunmasi hedeflenmistir. Calisma kapsaminda arazi calismalari, literatur ve arsiv taramasi kullanilan baslica arastirma metotlari olmustur. Yapinin restorasyon uygulamasi esnasinda ulasilan yeni bulgular- ozgun kot, siva altindan cikan ozgun duvar orgusu, beton doseme altindan cikan ozgun tas ayaklar, toprak dam ve benzeri veriler- yoredeki benzer camilerin projelendirilmesi ve onarimlari esnasinda ornek teskil etmesi acisindan onemlidir.

Even though cinema studies, usuallyfocusing on films, the audience has been attracted to the attention ofresearchers since the beginning of these studies. However, in recent years thenumber of studies on the audience has been increasing steadily. While earlycinema studies has focused on the influence of films on the audience, theexperience of cinemagoing has recently become a focus. This article is based onoral history interviews conducted in Istanbul, Ankara, Antalya and Kocaeliwithin the scope of the TUBITAK Project entitled "Cinemagoing as aCultural and Social Practice". In the article, through the fiftyinterviews with female spectators who went to cinema in Turkey in the 1960s and'70s, dynamics that played a role in the women's experience of cinemagoing andthe narration styles of the experience of cinemagoing were analyzedthematically and discursively. The narratives of women spectators and theiranalyzes emphasize that women's understanding of cinema is heterogeneous andmultidimensional and have shown that marriage is a significant threshold forwomen's experience in cinemagoing and is used as a strategy act of going tocinema against the reality of everydaylife.

Son dönemde kullanıcılar, beklenti ve ihtiyaçların tespitinde tasarımsürecine dahil edilmeye başlanmıştır. Bu çalışmada kullanıcı odaklı tasarımaçısından genç odası mobilya tasarımı ele alınmış ve kullanıcı beklenti veihtiyaçlarının cinsiyet bağlamı anlaşılmaya çalışılmıştır. Diğer mobilyalaryerine genç odası mobilyaları seçilmesinin nedeni; ergenlik dönemindekigençlerin odalarından beklentileri ile ilgili çalışma sayısının yetersizolmasıdır. Genel kullanıcı beklentilerinin belirlenmesi ve cinsiyetfarklılığının genç odası kullanıcı beklentilerine etkisi bu çalışmanın amacınıoluşturmaktadır. Veriler araştırmacı tarafından geliştirilen yarıyapılandırılmış görüşme formu aracılığı ile kullanıcılarla yüz yüze görüşülerektoplanmıştır. Görüşmeciler ergenlik döneminde olan 30 kız ve 30 erkek olmaküzere toplam 60 kullanıcıdan oluşmaktadır. Görüşmeler esnasında gençlerin gençodası ürünlerini ne şekilde kullandıklarını anlamak için gençlerden genç odasıürünleri ile günlük yaşamlarını birlikte hayal etmeleri ve bu ürünlerle"gündüz hayali" etkileşimine girmeleri istenmiştir. Elde edilenveriler SPSS programında analizi yapılarak elde edilen bulgular yorumlanmıştır.Yapılan analizler, cinsiyet faktörüne göre kullanıcıların farklı beklentileresahip olduklarını ortaya koymuştur. Kızların erkeklere göre odalarında dahafazla zaman geçirmelerine paralel olarak daha fazla beklentiye sahip oldukları tespitedilmiştir. Ürün grubunun renklerinin değişebilmesi, dağınıklığı gizlemeyeyardımcı olması, form olarak farklılaşması, ihtiyaç duyulduğunda depolamaalanının artırılabilmesi ve dar hacimlere uygun tasarlanması kız kullanıcılarınöncelikli beklentileriyken erkek kullanıcıların öncelikli beklentileriteknoloji ile uyumlu tasarlanmış ürünlerdi.

Strategic plans, which cover a wide range of processes such as including analyzing inner and outer environment, determining objectives, planning, implementing and evaluating, have been used as a managerial tool for organizations since 1960s. Under heavy competitive environment and political/economic uncertainties of countries, it is possible to say that it becomes a necessity to have strategic plans in order to overcome possible obstacles, set competitive advantage and achieve corporate goals. Due to their crucial position with the managerial team, corporate communication departments of organizations play a key role during implementation of strategic plans in various phases. Aim of this study is to understand the role of corporate communication units during different stages of strategic plans in top level companies. In this study, after giving brief information about strategic planning and its advantages to organizations, role of corporate communication departments in strategic management process will be discussed. Later, strategic planning practices of city of Kayseri’s companies that were in the top 1000 in Istanbul Chamber of Industry list in 2015 will be focused in terms of corporate communication axis. Only 16 companies accepted to participate in the study although 28 companies existed in the list. Study showed that besides its various benefits, companies found strategic planning as a bureaucratic and time-demanding activity. Most of the companies didn’t share their strategic plans in their corporate web-sites. Meetings and e-mails were the most popular tools while communicating shareholders in every stage of plans. Majority of the companies had crisis management, social responsibility and corporate reputation strategies in their plans; however, only a small group had sponsorship strategies.

Establishing sustainable social responsibility awareness by strengthening the social responsibility consciousness of the students who prefer Vocational School for vocational education is important for the development of social awareness. In this context, the aim of this study is to be able to demonstrate the social responsibility awareness gains in Vocational Schools. Namik Kemal University Marmara Ereglisi Vocational School Social Assistance and Solidarity Club initiated in 2016 and to determine and examine the social responsibility awareness development of the students participating in club activities based on the views of the students and the advisors of the study. The data were compiled with observations made during the one year period by the advisor teaching staff member and the advisor teaching staff. The sample group was composed of 9 students who were club members and a focus group study was conducted with the group. It can be said that the social responsibility project carried out by the students for a year at the end of the study was effective in improving the social responsibility awareness of the students and the social environment of the college students. It has been revealed that the students have the ability to work as a team, to acquire new friendships, to be able to cope with difficulties and to produce solutions.

Mimarlik egitimini ozellestiren ve ayricalikli kilan, egitimin yaparak, deneyimleyerek ogrenme uzerine odaklanmis olmasidir (Schon, 1985: 89). Dolayisiyla mimari tasarimi ogrenmenin oz deneyiminin yasandigi studyolar mimarlik egitiminin bel kemigini olusturur. Studyo egitiminin temel amaci tasarimci adaylarinin yaratici potansiyellerini, yaratici dusunce ve tutumlarini gelistirilmektir. Bu baglamda studyo egitiminde/studyolarda farkli metotlar uygulanmaktadir. Bu metotlardan bazilari temelde tasarimci adaylarinin yaratici dusuncelerini gelistirmeyi amaclamakla birlikte bazilari da ogrencilerin 3 boyutlu dusunme ve form yaratma becerilerini gelistirmeyi hedefler. Yaratici dusunceyi besleyen dusunsel metotlarin temelinde yaratici kisilik ozelliklerinin ortaya cikarilmasi vardir. Bu modeller y aratici kisi araciligi ile yaratici urunun potansiyelini ortaya cikarmaya da hizmet ederler. Yaratici dusuncenin nesnel donusumu olan yaratici form uretme yaratici bir surec sonucunda ortaya cikmaktadir. Bu dinamik surecin sonunda tasarim fikirleri tasarim egitiminin geregi olan bicim ile icerik arasindaki baglantiyi kuran, gorsel dilin olusturulmasini saglayan uc boyutlu form tasarimlarina donusturulur. Formel metotlar ise bu asamada yaratici urune ve onun gelisimine hizmet ederler. Bu yontemlerin tumu yaratici bir urun ortaya koyabilmek adina tasarim surecinin sentez asamasinda gundeme gelmektedirler. Bu makale kapsaminda tarihsel surecte tasarim egitimi, studyolar ve studyolardaki egitim modelleri ozelinde ele alinarak, yaygin egitim metotlari ve modeller irdelenmektedir. Iki temel adim uzerine kurgulanan calismanin ilk adiminda, gunumuz tasarim studyolarinda yaygin olarak kullanilan metotlar dusunsel ve formel olarak iki ayri grupta ele alinarak bu metotlarin yaratici surec, yaratici urun, yaratici kisi ozellikleri ile iliskisi analiz edilmektedir. Calismanin ikinci adiminda ise, bu metotlar Torrance Yaratici Dusunce Testinin alt yaraticilik parametreleri (sekilsel, sozel) ozelinde irdelenmektedir.

Capacity of digital game engines increased with evolution of microprocessors and many game engines became available by their own developers as a production tool presented for a particular commision or free. In this circumstance, using fields of game engines is expanded and a big developers community has been occured. In this research, I tried to answer the question how we use Unity as one of the next generation game engines for creating visual effects in film development process from a design centric approach. For that purpose, camera shots and real time rendered images composed with chroma key technique.

Bu alma ile Trkiye'de sinemann , emek balamnda kadn nasl konumlandrd sorusuna yant aranmaktadr. Trk sinemasnn geliiminden itibaren kadn ve emeinin geirdii servende kadn emeinin grnen