{"id":27166,"date":"2014-05-03T12:53:16","date_gmt":"2014-05-03T09:53:16","guid":{"rendered":"https:\/\/bilimvegelecek.com.tr\/?p=27166"},"modified":"2018-06-27T20:30:20","modified_gmt":"2018-06-27T17:30:20","slug":"sinema-savaslarinda-elestirel-cephe","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2014\/05\/03\/sinema-savaslarinda-elestirel-cephe","title":{"rendered":"Sinema Sava\u015flar\u0131nda Ele\u015ftirel Cephe"},"content":{"rendered":"

Filmler do\u011fruyu s\u00f6yleyen yalanlard\u0131r.<\/em><\/p>\n

Bernardo Bertolucci<\/p>\n

Frankfurt Okulu\u2019nun \u00fc\u00e7\u00fcnc\u00fc ku\u015fak temsilcilerinden Douglas Kellner\u2019in akademik \u00e7al\u0131\u015fmalar\u0131n\u0131n merkezinde medya k\u00fclt\u00fcr\u00fc ve tekno-kapitalizm konular\u0131 bulunuyor. Sinema ise Kellner\u2019in \u00e7al\u0131\u015fmalar\u0131n\u0131n bir ba\u015fka kanad\u0131n\u0131 olu\u015fturuyor. Kellner, Michael Ryan ile birlikte yazd\u0131\u011f\u0131 Politik Kamera<\/em>‘da \u00e7a\u011fda\u015f Hollywood sinema filmlerinin ideolojik \u00e7\u00f6z\u00fcmlemelerini yapm\u0131\u015ft\u0131. Bu anlamda, Sinema Sava\u015flar\u0131\/ Bush-Cheney D\u00f6neminde Hollywood Sinemas\u0131 ve Siyaset<\/em> adl\u0131 \u00e7al\u0131\u015fmas\u0131 Kellner\u2019in Politik Kamera<\/em>‘s\u0131yla \u00f6nemli bir b\u00fct\u00fcnl\u00fck i\u00e7eriyor. Kitap hayli tart\u0131\u015fmal\u0131 2000 y\u0131l\u0131 ba\u015fkanl\u0131k se\u00e7iminin galibi George W. Bush ve yard\u0131mc\u0131s\u0131 Dick Cheney d\u00f6neminin sinemadaki tezah\u00fcrlerini inceliyor. Bush-Cheney d\u00f6neminin siyasi ve toplumsal \u00e7alkant\u0131lar\u0131n\u0131n birer alt metin olarak filmlerin i\u00e7ine yerle\u015ftirildi\u011fini \u00f6rnekleriyle ispata giri\u015fen Kellner\u2019e g\u00f6re, \u00e7a\u011fda\u015f Hollywood sinemas\u0131 \u201ctemsillerin birbiriyle m\u00fccadelesi olarak ve mevcut toplumsal m\u00fccadelelerin yeniden \u00fcretildi\u011fi, d\u00f6nemin siyasi s\u00f6ylemlerinin tahvil edildi\u011fi bir m\u00fccadele alan\u0131\u201d<\/em>olarak tan\u0131mlanabilir.<\/p>\n

Kellner, Bush-Cheney y\u00f6netimi olarak tan\u0131mlad\u0131\u011f\u0131 d\u00f6nemin film \u00fcretimine etkilerini keskin bir ayr\u0131mla sunmaktan ka\u00e7\u0131n\u0131rken Hollywood filmleri ile ba\u011f\u0131ms\u0131z filmler gibi bir ayr\u0131ma gitmek yerine her iki ak\u0131mdan \u00f6rneklerle Bush-Cheney y\u00f6netiminin a\u015f\u0131r\u0131 muhafazak\u00e2r ve sa\u011f politikalar\u0131n\u0131n ABD\u2019de yaratt\u0131\u011f\u0131 sars\u0131nt\u0131lar\u0131 sebepleriyle birlikte if\u015fa etmeye \u00e7al\u0131\u015f\u0131yor.<\/p>\n

Yazar, Bush-Cheney d\u00f6neminin muhafazak\u00e2r politikalar\u0131n\u0131 ve militarizmini ele alan filmlerin yan\u0131 s\u0131ra, Bush-Cheney y\u00f6netimini ele\u015ftiren, ona muhalif filmleri de de\u011ferlendiriyor. Stuart Hall\u2019\u0131n \u201ctemsil politikalar\u0131\u201d kavram\u0131ndan yararland\u0131\u011f\u0131n\u0131 dile getiren Kellner, sineman\u0131n ideolojiler sava\u015f\u0131ndaki rol\u00fcn\u00fc s\u0131kl\u0131kla vurguluyor. Bu ba\u011flamda,\u00a0 sava\u015f ve ter\u00f6rizm, \u015firketler ve devlet, \u00e7evre, \u0131rk, toplumsal cinsiyet gibi kavramlar filmlerle toplumsalla\u015f\u0131yor. Kellner\u2019e g\u00f6re liberal bir \u00e7o\u011funlu\u011fun ifadesi olarak Hollywood, toplumda siyasal y\u00f6netime ili\u015fkin bir ho\u015fnutsuzluk oldu\u011funda bu durumu s\u00f6m\u00fcrmekte gecikmez ve bu ho\u015fnutsuzlu\u011fun g\u00f6stergesi haline gelen filmler yapar.<\/p>\n

Be\u015f b\u00f6l\u00fcmden olu\u015fan kitap filmler arac\u0131l\u0131\u011f\u0131yla te\u015fhise y\u00f6nelik ele\u015ftirel bir \u00fcsluptan faydalan\u0131yor. Belgesel filmlerin 2000\u2019li y\u0131llarla birlikte y\u00fckseli\u015fe ge\u00e7en bir t\u00fcr olarak sinemada \u00f6ne \u00e7\u0131k\u0131\u015f\u0131n\u0131 ayr\u0131nt\u0131s\u0131yla ele alan ilk b\u00f6l\u00fcmde Bush\u2019un \u015faibeli ba\u015fkanl\u0131k ser\u00fcveni (Douglas Kellner 2000 y\u0131l\u0131nda ABD\u2019de yap\u0131lan ba\u015fkanl\u0131k se\u00e7imini “B\u00fcy\u00fck Soygun” olarak adland\u0131rmakta), Irak Sava\u015f\u0131, \u00e7evre krizi gibi \u00f6nemli konular\u0131n i\u015flendi\u011fi belgeseller de\u011ferlendiriliyor. Counting On Democracy<\/em> (2001), Orwell Rolls in His Grave<\/em> (2004) vb. belgesel film yap\u0131mlar\u0131n\u0131n ele\u015ftirel \u00fcsluplar\u0131na ili\u015fkin analizlerin \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 bu ilk b\u00f6l\u00fcmde Kellner, Bush-Cheney taraftar\u0131 olarak nitelenebilecek belgesel filmlerden de \u00f6rnekler sunarak \u00e7apraz bir okuma yapmaya \u00f6zen g\u00f6steriyor. Bush\u2019un se\u00e7imlerdeki rakibi Al Gore\u2019un An Inconvenient Truth<\/em> (2006) isimli belgesel filmi \u00e7evre ve iklim konular\u0131na odaklanan pop\u00fcler bir yap\u0131m olarak kar\u015f\u0131m\u0131za \u00e7\u0131k\u0131yor. Darwin\u2019s Nightmare<\/em> (2005) ise ekosistemin \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fcn bir ispat\u0131 olarak ibretlik bir vakay\u0131 ele al\u0131yor ve \u00e7ok \u00e7arp\u0131c\u0131 politik ve toplumsal sonu\u00e7lar\u0131n\u0131 if\u015fa ediyor. Kellner\u2019\u0131n analizlerinin belgesel filmlerden animasyon filmlere kadar geni\u015f bir prod\u00fcksiyon yelpazesi alt\u0131nda birle\u015fti\u011fini s\u00f6ylemek m\u00fcmk\u00fcn. Bu \u00e7e\u015fitlili\u011fe alegorik \u00e7\u00f6z\u00fcmlemeler e\u015flik ediyor haliyle.<\/p>\n

Nesnellik konusunun farkl\u0131 bilim ve sanat dallar\u0131 ba\u011flam\u0131nda t\u00fcrl\u00fc tart\u0131\u015fmalar\u0131n oda\u011f\u0131nda kalmay\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fc g\u00fcn\u00fcm\u00fczde, sinema bu tart\u0131\u015fmalar\u0131n pop\u00fcler bir kanad\u0131n\u0131 olu\u015ftuyor ve bu nedenledir ki Kellner, belgesel film t\u00fcr\u00fcn\u00fcn y\u00fckseli\u015fini \u00f6nemsiyor. Bu ba\u011flamda \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm\u00fcn oda\u011f\u0131nda Michael Moore\u2019un \u00e7al\u0131\u015fmalar\u0131 bulunmakta. \u201cMichael Moore\u2019un K\u0131\u015fk\u0131rtmalar\u0131\u201d ba\u015fl\u0131kl\u0131 bu b\u00f6l\u00fcmde Michael Moore\u2019un kendine has \u00fcslubunu, siyasetini ve sinema stratejilerini masaya yat\u0131ran Kellner asl\u0131nda kitab\u0131n oda\u011f\u0131na da belgesel filmlerin alt\u0131n \u00e7a\u011f\u0131n\u0131 ve Michael Moore\u2019un muhalif tavr\u0131n\u0131 yerle\u015ftiriyor bir anlamda. Roger and Me<\/em> (1989), Bowling for Columbine<\/em> (2002), Fahrenheit 9\/11<\/em> (2004) filmlerini kitap boyunca y\u00fcr\u00fctt\u00fc\u011f\u00fc tart\u0131\u015fman\u0131n ba\u015fl\u0131ca meseleleri ba\u011flam\u0131nda inceliyor.<\/p>\n

\u201cHollywood\u2019un 11 Eyl\u00fcl\u2019\u00fc ve Ter\u00f6r G\u00f6sterileri\u201d ba\u015fl\u0131kl\u0131 ikinci b\u00f6l\u00fcmde Kellner 11Eyl\u00fcl sald\u0131r\u0131lar\u0131n\u0131 \u201cbir ter\u00f6r g\u00f6sterisi ba\u015flatan \u015foke edici k\u00fcresel medya olaylar\u0131\u201d olarak tan\u0131mlamaktan \u00e7ekinmiyor. \u00a0Bu ba\u011flamda ortaya \u00e7\u0131kan g\u00fc\u00e7l\u00fc medya g\u00f6sterilerinin toplumsal haf\u0131za in\u015fas\u0131ndaki rol\u00fc Hollywood yap\u0131mlar\u0131 vas\u0131tas\u0131yla de\u011ferlendiriliyor. Hollywood filmlerinde 11 Eyl\u00fcl temsilleri ba\u011flam\u0131nda United 93<\/em> (2006) ve World Trade Center<\/em> (2006) analizleri \u00f6ne \u00e7\u0131kmakta.<\/p>\n

Kellner d\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fcmde d\u00f6nemin huzursuzlu\u011funu gerek ger\u00e7ek\u00e7i ele\u015ftiriyle gerekse alegori ya da hicivle resmeden Bush-Cheney y\u00f6netimi kar\u015f\u0131t\u0131 Hollywood filmlerinden \u00f6rnekler sunmay\u0131 s\u00fcrd\u00fcr\u00fcyor. Alegorik ele\u015ftirilerin \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131 bu film se\u00e7kisinde Star Wars serisinin ikinci \u00fc\u00e7lemesi, The Simpsons: The Movie<\/em> (2007) gibi filmlerin farkl\u0131 okumalar\u0131yla kar\u015f\u0131la\u015fmak m\u00fcmk\u00fcn. Kellner kar\u015f\u0131-\u00fctopya tarz\u0131 filmlere \u00f6rneklerle (V for Vendetta<\/em> (2005), Minority Report<\/em> (2002) gibi) a\u015f\u0131r\u0131 sa\u011f siyasetin, hapishane end\u00fcstrisinin ele\u015ftirisini yaparken sineman\u0131n tahayy\u00fcl imk\u00e2nlar\u0131n\u0131 \u00f6nemsedi\u011fini g\u00f6steriyor.<\/p>\n

Sinema Sava\u015flar\u0131<\/em>‘nda k\u00fclt\u00fcr teorilerinin kaynaklar\u0131ndan biri olan sineman\u0131n, bir toplumsal m\u00fccadele alan\u0131 olmay\u0131 s\u00fcrd\u00fcrd\u00fc\u011f\u00fc a\u015fik\u00e2r ve kitap bu ba\u011flamda ele\u015ftirel analizin gereklerini yerine getiriyor. Bush-Cheney d\u00f6nemi skandallar\u0131n\u0131n g\u00fcn\u00fcm\u00fcz T\u00fcrkiye’sine yabanc\u0131 olmay\u0131\u015f\u0131 kitab\u0131n okuyucu \u00fczerinde b\u0131rakaca\u011f\u0131 etkiyi art\u0131rabilir. Kitab\u0131n ele\u015ftirel analize tabi tuttu\u011fu filmler ve irdeledi\u011fi meseleler ba\u011flam\u0131nda sinemaya ve sosyal bilimlere ilgi duyanlar\u0131n birer film listesi olu\u015fturmas\u0131na imk\u00e2n sa\u011flad\u0131\u011f\u0131n\u0131 ifade etmek de m\u00fcmk\u00fcn. Sinema Sava\u015flar\u0131<\/em>, filmleri \u201cokuman\u0131n\u201d toplumsal ve tarihsel meselelere ili\u015fkin edinmi\u015f oldu\u011fumuz fikirlere \u00f6nemli katk\u0131lar sa\u011flayaca\u011f\u0131n\u0131 hat\u0131rlatan y\u00f6n\u00fcyle ilgiyi hakediyor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Filmler do\u011fruyu s\u00f6yleyen yalanlard\u0131r. Bernardo Bertolucci Frankfurt Okulu\u2019nun \u00fc\u00e7\u00fcnc\u00fc ku\u015fak temsilcilerinden Douglas Kellner\u2019in akademik \u00e7al\u0131\u015fmalar\u0131n\u0131n merkezinde medya k\u00fclt\u00fcr\u00fc ve tekno-kapitalizm konular\u0131 bulunuyor. Sinema ise Kellner\u2019in \u00e7al\u0131\u015fmalar\u0131n\u0131n bir ba\u015fka kanad\u0131n\u0131 olu\u015fturuyor. Kellner, Michael Ryan ile birlikte yazd\u0131\u011f\u0131 Politik Kamera‘da \u00e7a\u011fda\u015f Hollywood sinema filmlerinin ideolojik \u00e7\u00f6z\u00fcmlemelerini yapm\u0131\u015ft\u0131. Bu anlamda, Sinema Sava\u015flar\u0131\/ Bush-Cheney D\u00f6neminde Hollywood Sinemas\u0131 ve Siyaset […]<\/p>\n","protected":false},"author":585,"featured_media":27297,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[160,38,510,511],"tags":[3565,376],"class_list":["post-27166","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-123-sayi","category-dergi-sayilari","category-surekli-bolumler","category-yayin-dunyasi","tag-douglas-kellner","tag-sinema"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/27166","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/users\/585"}],"replies":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=27166"}],"version-history":[{"count":0,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/27166\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media\/27297"}],"wp:attachment":[{"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=27166"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=27166"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bilimvegelecek.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=27166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}