• PHD: Communication, Marmara University (2010)
Thesis: Questioning with the Reductio Ad Absurdum Method: Is There Documentary?

• MA: Film and TV, Marmara University (1992)
“Ot”, 12’

• BA: Film and TV, Anatolian University (1986)

• AFS-scholarship Onteora Central Highschool, Woodstock, NY / USA (1977)

Teaching Experience

• Istanbul Bilgi University Communication Faculty (1999-)

• Marmara University, Fine Arts Faculty (1989-1991)

• Marmara University, Communication Faculty (1991-1992, 2006)

• Beykent University, Communication Faculty (1996-1998)

• Yıldız Technical University, Fine Arts Faculty (2004-2006)

• Europe Lefke University, Communication Faculty, Cyprus (2005)

• University of Vienna, Media and Communication Department, Austria (1995-1996)


• Documentary

• Video art

• Contra

• Audio-visual Production

• C-Lab

• Final Thesis

• Practicum

• Video Art / Short Film

Other Work Experiences

• BIFED – Bozcaada International Festival of Ecological Documentary, coordinator (2014-)

• FIMa – Association for Intercultural Media, 1992-2001 (Creation of Workshop Modules for Video and Intercultural Education, 250 students from24 countries)

What is FIMa?
During the last few years FIMa organized not only International Video Workshops but also worked in active media making, that is making alternative documentaries about themes that concern culture/art, environment, human rights. There are quite a number of them made with almost no budget and only supported by the FIMa members (paying many costs from their own pockets). Many of the documentaries got invitations to international festivals. Some of them were awarded in international Festivals. Many NGOs in Turkey show the videos in their meetings. Even though the TV stations are not showing the documentaries in their programs they were seen by quite a big crowd - they find their own channels to deliver their message. Apart from documentaries, FIMa is making video works which could be categorized as video art. They were also screened in international events and even established the category “video art” for Turkey (1994).

The project has a "daughter" in Yugoslavia. A group of alternative media workers was impressed by this workshop and asked FIMa to be the advisor for a similar international project in Yugoslavia. There might be cooperation with Italy on the same matter.

Why does FIMa do these kinds of documentaries and projects?
In a time where the media are dominated by monopolist companies and uniform program schemes there is a need to empower alternative voices. There is a need to document the history from the people’s side independent from the big corporations, the institutions in power, and the patriarchal structures. Therefore we make many documentaries on culture and environment. At the same time we try to support young documentary makers in their wish to document sides of life. The forms support reach from trying to help with equipment, international or local connections, as well as critique or suggestions in the development process.

A second important issue is the way of using video. As film is still a very expensive medium (and is also extensive in terms of staff and equipment) video turned out to be the more realistic medium for communication. However, the language that video is imposing on the maker is very different than the one the material film is able to offer. Yet, the medium video is still often not used according to its possibilities. To point out the possibilities - the borders is one of the main concerns of FIMa. Another important issue is the time limits if one wants to be heard on the mainstream media. The time is limited to very short period - therefore the ability to express the main message as short and clear as possible is a main preposition to work in that field.

FIMa has also a library that contains books about media theory, philosophy, film and video making, political science, history, media and cultural studies. The video archive contains videos from many different countries – students’ works, famous directors, alternative films, documentaries, video work.

The long-term aims of the video workshops lie in a self-sustaining centre where documentaries and other video productions are possible. Young people from different countries should get the possibilities to produce their works and share the experiences with each other. At the same time there should be possibilities to learn how to use video, how to make documentaries, theoretical work in order to give more and more people the possibility to work on an alternative way in media. For the time being, we are trying to enable the participants in the workshops to organize workshops of their own, to share their experiences with other people, to participate in documentary projects like “Mediterranean” (a documentary about the Mediterranean culture in Turkey, Greece, Lebanon and Italy) or a documentary about the Olive Culture. During the year we try to keep up the relationship with the participants from previous years. A small network among the participants is developing and getting stronger.

• National Environmental Script and Production Awards, 1997-1999
The “National Environmental Video Script and Production Awards” was a project to develop and produce videos. 4 scripts were chosen (among 91 scripts from all over Turkey) - their award was the complete production of the script and the presentation of the works in public. This is one of the rare occasions in Turkey that an awarded script had the chance to be realized. The project continued for three years with the topics "Water", "Sea" and "Earthquake."

• Antalya Golden Orange International Short Film Festival, director, 1st international edition of the festival, 1995-1996
The “1st International Golden Orange Short Film and Video Festival” in Antalya (1995) was conceived and produced by Ethem Özgüven and Petra Holzer. 430 films and videos from 33 countries were submitted to the competition.

• Worked as a director for productions for TRT and other TV channels


• CSLS (Contra Small Local Slow) Against Adverts, together with Petra Holzer, Interactions: Studies in Communication and Culture, Vol 5/3, 2014, pp 381,id=19406/

• Writings on Documentary Film I: Documentary and Documentary on TV, (Belgesel Sinemaya Dair Yazılar I: Belgesel ve Televizyonda Belgesel), Yeni Film, No: 18, 2009, pp 61-66

• Writings on Documentary Film II: Defining Reality and Truth in Documentary (Belgeselde Geçeklik ve Hakikat Tanımlama), Yeni Film, No: 19, 2010, pp 115-119

• Writings on Documentary Film III: Making a Good Film or Which Film to Make (Belgesel Sinemaya Dair Yazılar III: İyi Film Yapmak ya da Hangi Filmi Yapmak), Yeni Film, No: 19, 2010

• Writings on Documentary Film IV: Festivals and Statements (Belgesel Sinemaya Dair Yazılar IV: Festivaller ve Saptamalar), Yeni Film, No: 21, 2010, pp 71-76

• Writings on Documentary Film Belgesel V: Advertising , the New Documentary Genre (Sinemaya Dair Yazılar V: Reklâm, Yeni Belgesel Formatı), Yeni Film, No: 23, 2011

• Writings on Documentary Film Belgesel VI: Cultural Memory (Sinema Üzerine Yazılar VI: Kültürel Bellek), Yeni Film, No: 24, 2011


• Contra, “Vortex” at Tedx Koç University, 2016

• CSLS (Contra Small Local Slow) Against Adverts, together with Petra Holzer, ‘Transforming Audiences, Transforming Societies’, Bahçeşehir University, COST, Istanbul , 2013

• Contra's, social projects on disabled, women and refugees, 4th European Communication Conference, ECREA, Istanbul, 2012

• Neo-Colonialization of “Non-Western” Documentary, Visible Evidence XVII, Istanbul, 2010

• The Invisible (Görümeyenler), Keynote speaker at Cultural Studies Symposium,Karaelmas: Media and Culture, Zonguldak, 2009

• Contra, at Meetings of the South: Virtual vehicles and spaces, Videobrasil, 2007

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