2000 sonrası distopik filmlerde ailenin temsili
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Dosyalar
Tarih
2024
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Geçmişten bugüne gelecek anlatıları, insanların umut ve korkularını ele almış, sinema da bu duyguların ifade edildiği en etkili alan olmuştur. Bu anlatılar arasında ideal ve kusursuz bir yaşam hedefi güden ütopyalar, bilimsel gelişmelerin amacı dışında kullanımı sonucu karanlık ve kasveti temsil eden distopyalara dönüşmüştür. Başlarda edebiyata konu olan bu öyküler, 1920'lerden itibaren sinemada boy göstermeye başlamıştır. Totaliter ve zorba rejimlerin gölgesinde yaşayan toplumları anlatan bu senaryolar, izleyiciyi uyarırken, gücünü iktidar, teknoloji, salgınlar, iklim değişiklikleri ve yapay zekâ gibi konulardan almaktadır. Toplumları dönüştüren bu gelişmelerden aile kurumunun etkilenmemesi düşünülemez. Araştırma, bu gerçekler üzerine bina edilen distopik filmler evrenselinde, örnekleme alınan filmler aracılığıyla toplumun temelini oluşturduğu düşünülen aile kurumunun, nasıl temsil edildiği sorunsalı etrafında şekillenmektedir. Tez, 2000 sonrası distopik filmler üzerinden ailenin temsilinin ne şekilde olduğunu bulgulamayı hedeflemektedir. Bu hedef doğrultusunda, Köpek Dişi (Dogtooth, 2009), Elysium: Yeni Cennet (2010), Ben Anneyim (I am Mother, 2019) ve Koloni (The Colony, 2021) filmlerindeki aile temsili Stuart Hall, Michael Ryan ve Douglas Kellner'ın yaklaşımları çerçevesinde incelenmiştir. Araştırma sonucunda teknolojinin bir tahakküm aracına dönüştüğü görülürken, aile kurumunun değişen şartlara göre konum aldığı, incelenen filmlerde aile kurumunun krizine ilişkin temsillere rastlandığı ve filmlerin bu krizlere çeşitli biçimlerde yanıt verdiği bulgulanmıştır.
Narratives of the future from past to present have addressed people's hopes and fears, and cinema has been the most effective field where these emotions are expressed. Among these narratives, utopias pursuing an ideal and flawless life goal have turned into dystopias representing darkness and gloom as a result of the use of scientific developments outside their purpose. Initially, these stories, which were the subject of literature, have started to appear in cinema from the 1920s. These scenarios, which describe societies living under the shadow of totalitarian and oppressive regimes, while alerting the viewer, it draws its power from subjects such as authority, technology, epidemics, climate changes, and artificial intelligence. It is unthinkable that the institution of family would not be affected by these developments that transform societies. The research, in the universe of dystopian films built upon these realities, is shaped around the problem of how the institution of family, which is thought to form the foundation of society, is represented through the films sampled. The thesis aims to find out how the representation of family is depicted in dystopian films after 2000. In line with this goal, the representation of family in the films Dogtooth (2009), Elysium (2010), I am Mother (2019), and The Colony (2021) has been examined within the framework of the approaches of Stuart Hall, Michael Ryan, and Douglas Kellner. As a result of the research, while it is seen that technology has turned into a tool of domination, it has been found that the institution of family takes a position according to changing conditions, representations related to the crisis of the institution of family are encountered in the examined films, and the films respond to these crises in various ways.
Narratives of the future from past to present have addressed people's hopes and fears, and cinema has been the most effective field where these emotions are expressed. Among these narratives, utopias pursuing an ideal and flawless life goal have turned into dystopias representing darkness and gloom as a result of the use of scientific developments outside their purpose. Initially, these stories, which were the subject of literature, have started to appear in cinema from the 1920s. These scenarios, which describe societies living under the shadow of totalitarian and oppressive regimes, while alerting the viewer, it draws its power from subjects such as authority, technology, epidemics, climate changes, and artificial intelligence. It is unthinkable that the institution of family would not be affected by these developments that transform societies. The research, in the universe of dystopian films built upon these realities, is shaped around the problem of how the institution of family, which is thought to form the foundation of society, is represented through the films sampled. The thesis aims to find out how the representation of family is depicted in dystopian films after 2000. In line with this goal, the representation of family in the films Dogtooth (2009), Elysium (2010), I am Mother (2019), and The Colony (2021) has been examined within the framework of the approaches of Stuart Hall, Michael Ryan, and Douglas Kellner. As a result of the research, while it is seen that technology has turned into a tool of domination, it has been found that the institution of family takes a position according to changing conditions, representations related to the crisis of the institution of family are encountered in the examined films, and the films respond to these crises in various ways.
Açıklama
Anahtar Kelimeler
Ütopya, Distopya, Bilim Kurgu, Aile, Distopyalarda Aile, Utopia, Dystopia, Science Fiction, Family, Family in Dystopia
Kaynak
WoS Q Değeri
Scopus Q Değeri
Cilt
Sayı
Künye
Kırılmaz, B. (2024). 2000 sonrası distopik filmlerde ailenin temsili. (Yüksek Lisans Tezi). Selçuk Üniversitesi, Sosyal Bilimler Enstitüsü, Konya.
