Cezayir Sinemasında Postkolonyalist Tavır
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Dosyalar
Tarih
2022
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
II. Dünya Savaşı sonrasında kademeli olarak dekolonileşen Afrika Ülkeleri’nin,
sömürgecilik ve sömürgecilik sonrasında yaşadığı neokolonyal dönemin eleştirisini de içine
alan postkolonyal teori, kolonyal tahakküm öncesinde ulusların öz değerlerine dönme vurgusu
yaparken, emperyal ve kapital dünya düzenine verdiği tepkilerle hem dünyada hem de Afrika
ülkeleri için önemli bir kavram olarak karşımıza çıkmaktadır. Postkolonyal sinema çalışmaları
da bu anlamda kolonyal tahakküme ve sonrasında yaşanan gelişmelere karşı ortaya çıkan etkin
direniş yöntemlerinden biridir. Özellikle Üçüncü Dünya kavramının, İkinci Dünya’nın yok
olmasıyla anlamsız hale gelmesi; küreselleşme ile dünya halklarının, kültür ve yaşam
biçimlerinin birbirine karışması; bunlara bağlı olarak 1980 sonrasında modernizmin
karşıtlıklara dayalı (ben- öteki, iyi- kötü) doğasının farklı bir yapıya evrilmesine yol açmıştır.
Bu süreçte postkolonyalizm de tıpkı postmodernizm, poststrukturalizm, postyapısalcılık gibi
kavramların revaçta olduğu bir dönemde ortaya çıkarak Üçüncü Dünya halklarının sesi olma
yolunda önemli bir adım olmuştur.
Nitekim Mağrip ülkelerde verilen bağımsızlık mücadelelerine paralel olarak sinema
alanında da önemli yapıtlar ortaya konmuştur. Bu doğrultuda Cezayir Ulusal Sineması’nın,
sömürgecilik ve sonrasını konu alan ödüllü filmleri, sömürge karşıtlığı, aidiyetsizlik,
pasif/aktif/kültürel direniş paradigmaları, toplumsal sorun eleştirileri, antikolonyal
milliyetçilik, madun-maduniyet, hibrit yapı, oryantalist temsiller, yerel işbirlikçi, yerel
burjuvazi ve Batı eleştirisi olarak belirlenen temalar bağlamında ele alınarak, nitel metin
çözümlemelerinden biri olan betimsel analiz yönteminin referansları çerçevesinde
çözümlemeye tabi tutulmuştur. Filmlerin kolonyal ve neokolonyal dönemlere verdikleri
tepkiler, bağımsızlık sonrasından başlayarak günümüze doğru devam eden (1964-2014) dikey
yönlü ilişki göz önünde bulundurularak incelenmiş, postkolonyal teorinin yıllara göre değişen
izleklerine yine filmlerin kendi anlatıları içerisinde yanıtlar aranmıştır. İncelenen filmlerde
sömürge ve yeni sömürge halklarının postkolonyal teorinin izleklerine uygun bir biçimde var
olma mücadelesi verdikleri sonucuna ulaşılmıştır.
Postcolonial theory includes that critiqism of the post-freedom neocolonial and colonial period (colonialism) and also it contains freedom of african countires after World War II. On the other hand, postcolonialism has became important term on world wide, especially African countries by reacting to the imperial and capital world order while making an emphasis on returning to the self-values of nations before colonialism. In this sense, postcolonial cinema studies are one of the effective methods of colonizm against colonial domination and the developments that followed. In particular, the concept of the Third World has become meaningless with the disappearance of the Second World; globalization and the mixing to cultures and lifestyles of peoples on the world. Accordingly, the oppositional nature of modernism (self-other, good-bad) was lead to evolved into a different structure after 1980. In this process postcolonialism emerged as a time when concepts such as postmodernism, poststructuralism, and poststructuralism were popular, and became an important step towards becoming the voice of the Third World peoples. Consequently important works were produced in the field of cinema in parallel with the independence struggles in the Maghreb countries. The study was aimed that Algerian National Cinema's award-winning films was determined as the bourgeoisie and Western criticism. In these contex, the concepts of films which are colonialism and its aftermath include anti-colonialism, lack of belonging, passive/active/cultural resistance paradigms, criticism of social problems, anticolonial nationalism, subaltern-subalternism, hybrid structure, orientalist representations, local collaborative, local It has been analyzed within the framework of the references of the descriptive analysis method, which is one of the qualitative text analysis, by considering the themes determined as the bourgeoisie and Western criticism. The responses of the films to the colonial and neocolonial periods were examined by considering the vertical relationship starting from the post-independence period to the present (1964-2014), and answers were sought within the narratives of the films, which changed over the years. In these contex, it was concluded that the colonial and neo-colonial peoples struggled to exist in accordance with the paths of postcolonial theory.
Postcolonial theory includes that critiqism of the post-freedom neocolonial and colonial period (colonialism) and also it contains freedom of african countires after World War II. On the other hand, postcolonialism has became important term on world wide, especially African countries by reacting to the imperial and capital world order while making an emphasis on returning to the self-values of nations before colonialism. In this sense, postcolonial cinema studies are one of the effective methods of colonizm against colonial domination and the developments that followed. In particular, the concept of the Third World has become meaningless with the disappearance of the Second World; globalization and the mixing to cultures and lifestyles of peoples on the world. Accordingly, the oppositional nature of modernism (self-other, good-bad) was lead to evolved into a different structure after 1980. In this process postcolonialism emerged as a time when concepts such as postmodernism, poststructuralism, and poststructuralism were popular, and became an important step towards becoming the voice of the Third World peoples. Consequently important works were produced in the field of cinema in parallel with the independence struggles in the Maghreb countries. The study was aimed that Algerian National Cinema's award-winning films was determined as the bourgeoisie and Western criticism. In these contex, the concepts of films which are colonialism and its aftermath include anti-colonialism, lack of belonging, passive/active/cultural resistance paradigms, criticism of social problems, anticolonial nationalism, subaltern-subalternism, hybrid structure, orientalist representations, local collaborative, local It has been analyzed within the framework of the references of the descriptive analysis method, which is one of the qualitative text analysis, by considering the themes determined as the bourgeoisie and Western criticism. The responses of the films to the colonial and neocolonial periods were examined by considering the vertical relationship starting from the post-independence period to the present (1964-2014), and answers were sought within the narratives of the films, which changed over the years. In these contex, it was concluded that the colonial and neo-colonial peoples struggled to exist in accordance with the paths of postcolonial theory.
Açıklama
Anahtar Kelimeler
Kolonyalizm, Dekolonileşme, Neokolonyalizm, Postkolonyalizm, Emperyalizm, Colonialism, Decolonization, Neocolonialism, Postcolonialism, Imperialism
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Beyazyüz, S., (2022). Cezayir Sinemasında Postkolonyalist Tavır. (Doktora Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
