| SYMBOLIC VIOLENCE FASHION ON INSTAGRAM: EXAMINING EXAMPLES OF SYMBOLIC VIOLENCE AGANIST PEOPLE OVER THE AGE OF 65 IN THE COVID-19 PROCESS IN TURKEY | Hasret AKTAŞ, Esin SERİN AKSOY | 10–31 |
| INSTITUTIONAL REPUTATION OFFNON-PROFIT TELEVISION CHANNELS: TRT CASE | Birgül TAŞDELEN, Dilek TURAN EROĞLU, Hande TAŞLI | 32–55 |
| CONTENT MARKETING IN ONLINE LEARNING PROGRAMS: A RESEARCH ON EU-FUNDED ‘E-PROFMAN’ PROJECT | Ayşegül ÖZBEBEK TUNÇ, Oğuz KUŞ | 56–74 |
| HEALTH COMMUNICATION IN TURKEY: A STUDY CONDUCTED ON HEALTH CARE WORKERS | Dursun YILMAZ, Mehmet Akif GÜNAY | 75–91 |
| MARKETING COMMUNICATION IN MOBILE BANKING: COMPARATIVE ANALYSIS OF ANTHROPOMORPHIC FEATURES IN CHATBOT DESIGNS | Yeşim ESGİN | 92–110 |
| A CHALLENGE TO THE INDIVIDUALITY OF CONSUMPTION CULTURE: “THE PLATFORM” FILM | Pınar BASMACI | 111–128 |
| THE POWER OF SOCIAL MEDIA TO CREATE PUBLIC OPINION IN THE POST- TRUTH ERA: SAMPLE OF NEW ENFORCEMENT ARRANGEMENTS | Raci TAŞCIOĞLU, Zekeriya SARIHAN | 129–150 |
| EXAMINING THE CONSPICUOUS CONSUMPTION PROFILES OF UNIVERSITY STUDENTS IN THE CONTEXT OF NEVSEHİR HACIBEKTAS VELI UNIVERSITY | Yusuf Zafer Can UĞURHAN, Pınar GÜNER KOÇAK | 151–170 |
| THE CASE OF RED BULL TURKEY "MY INNER VOICE" EZHEL ON THE BASIS OF TRANSMEDIA STORYTELLİNG AND CONTENT MARKETING | Emine Özlem ATAMAN, Deniz Su PİGEY | 171–190 |
| AN ANALYSIS OF SITUATIONAL CRISIS COMMUNICATION THEORY IN THE CONTEXT OF COVID-19 PANDEMICS | Ebru GÖKALİLER, Özlem ALİKILIÇ | 191–212 |
| SOSYAL MEDYADA MODA REKLAMCILIĞI: INSTAGRAM ÖRNEĞİ | Engin COŞKUN, Betül ÇEPNİ ŞENER | 213–241 |
| NEO-NOIR AS A DANGEROUS STREET OF CINEMA: BLOOD SIMPLE AND FARGO | İkbal BOZKURT AVCI | 242–259 |
| SOCIAL VOYEURISM IN THE AGE OF DIGITAL MEDIA: THE CASE OF INSTAGRAM | Celal HAYIR, Tüba KARAHİSAR | 260–277 |
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