Sinemada ‘Dünyayı Kurtarmak’: Türk sinemasında Dünyayı Kurtaran Adam ve Oğlu
Yükleniyor...
Tarih
2011
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Selçuk Üniversitesi İletişim Fakültesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Ticari sinema kahramanlara dayalı bir sinemadır. Kahramanlar olağanüstü özelliklere sahip olduklarından, her türlü zorluğun üstesinden gelip bozulan düzeni ve dengeyi eski haline döndürebilirler. Dünyayı her tür tehdit ve saldırıdan korumak ve kurtarmak da ticari sinemanın yarattığı kahramanların görevidir. Bu kahramanlar Hollywood tarafından yaratılmakta, majörlerin güçlü dağıtım ağları sayesinde bütün dünya izleyicisine ulaşmaktadır. Uzun yıllardır süren Hollywood egemenliği, izleyicinin algısına ve bilinçaltına, dünyayı kurtarmanın Amerikalılara has bir özellik olduğu fikrini yerleştirmektedir. Ancak zaman zaman diğer ülkelerin ulusal sinemalarında da dünyayı kurtaran kahramanlara rastlanmaktadır. Türk ticari sinemasında 1982 yapımı ‘Dünyayı Kurtaran Adam’ ile 2006 yapımı ‘Dünyayı Kurtaran Adamın Oğlu’ filmleri kendine has kahramanlarıyla dünyayı kurtarmaktadır. Bu çalışmada, bu iki film, dünyanın karşı karşıya olduğu tehdit, kahramanın yapılandırılması ve filmlerin çekildiği dönemde ülkenin içinde bulunduğu ekonomik-politik ve toplumsal durum açısından incelenmiştir. Filmlerle, çekildikleri dönemin ekonomik, politik ve toplumsal yapısı arasındaki bağlantıları ortaya koymak amacıyla, ideolojik çözümleme yöntemi kullanılmıştır.
Commercial cinema is a form based on heroes. Since the heroes possess supernatural characteristics, they have the ability to overcome all sorts of difficulties and restore order that has been destroyed and maintain stability. It is the duty of the heroes created by commercial cinema to protect the world from all kinds of threats and attacks. Those heroes are created by Hollywood and reach the viewers all around the world by means of the powerful distribution networks of the majors. The dominance of Hollywood, which has been observed for years, inoculates into the perception and subconscious of the viewers the idea that saving the world is a quality peculiar to Americans. However, heroes who save the world are found in the products of national cinemas from time to time. In Turkish commercial cinema, the films The Man Who Saves the World produced in 1982 and The Son of The Man Who Saves the World produced in 2006, save the world through distinctive characters. In the present study, these two films are examined in terms of the threat the world is exposed to, the structuring of the hero characters and the economic-political and social situation of the country in the period when the movies were shot. The ideological analysis method was used in order to reveal the relationships between the films and the economic, political and social structures of the period when they were made.
Commercial cinema is a form based on heroes. Since the heroes possess supernatural characteristics, they have the ability to overcome all sorts of difficulties and restore order that has been destroyed and maintain stability. It is the duty of the heroes created by commercial cinema to protect the world from all kinds of threats and attacks. Those heroes are created by Hollywood and reach the viewers all around the world by means of the powerful distribution networks of the majors. The dominance of Hollywood, which has been observed for years, inoculates into the perception and subconscious of the viewers the idea that saving the world is a quality peculiar to Americans. However, heroes who save the world are found in the products of national cinemas from time to time. In Turkish commercial cinema, the films The Man Who Saves the World produced in 1982 and The Son of The Man Who Saves the World produced in 2006, save the world through distinctive characters. In the present study, these two films are examined in terms of the threat the world is exposed to, the structuring of the hero characters and the economic-political and social situation of the country in the period when the movies were shot. The ideological analysis method was used in order to reveal the relationships between the films and the economic, political and social structures of the period when they were made.
Açıklama
Url: http://josc.selcuk.edu.tr/article/view/1075000080
Anahtar Kelimeler
Film, Türk sineması, İdeoloji, Dünyayı kurtarmak, Cinema, Turkish cinema, Saving the world, Ideology
Kaynak
Selçuk İletişim
WoS Q Değeri
Scopus Q Değeri
Cilt
6
Sayı
Künye
Serarslan, M., Özgür, Ö. (2011). Sinemada ‘Dünyayı Kurtarmak’: Türk sinemasında dünyayı kurtaran adam ve oğlu. Selçuk İletişim, 6, (4), 31-47.
