Publication: Bahman Ghobadi sinemasında politik imgeler
Abstract
Bu tezin amacı, Ghobadi’nin sinemasının politik unsurlarını Foucault bağlamında açığa çıkarmaktır. Ghobadi’nin yönetmenliğini yaptığı altı uzun metraj filmdeki politik imgeler tespit edilmiş ve Foucault’un “iktidar, gözetim, denetim” kavramları aracılığıyla içerik analizi yöntemiyle politik söylemler açığa çıkarılmaya çalışılmıştır. Ghobadi’nin ele aldığı konular yaşanmış olaylardan, gerçek hayattan yansıyan imgelerdir. Yönetmen, kadınlar üzerindeki yasak ve baskıları, Halepçe katliamı gibi insanlık dramlarını, İran-Irak savaşı esnasında Saddam Rejiminin bombaladığı Kürtleri, baskıcı rejimler karşısında hayatta kalabilmek için seçeneksiz bırakılan ve sınırda kaçakçılık yapan Kürt toplumunun sorunlarını işlemiştir. Sadece Kürtlerin değil insanlığın ortak bir sorunu olan bu konuları, gerçekçi bir tarzda, yerel halktan amatör oyuncularla kameraya almıştır. Ghobadi sinemasının politik gücü; yasakçı ve baskıcı bir yönetime karşı, tüm bu unsurları işleyip sansür gibi baskılara karşı geri adım atmamasından gelmektedir. Foucault bağlamında incelenen filmler; Ghobadi’nin baskıcı, sınırlandırıcı, denetleyici iktidar karşısında, direnişi imleyen imgeler ürettiğini ortaya koymuştur. Ghobadi’nin, yer yer belgeselci bir yaklaşımla hem doğal anlatımlı görüntülere başvurarak hem de amatör oyuncuları kullanarak çektiği filmlerinde; eserlerinin temel konusu olan İran’daki Kürt toplumunun yerel unsurlarını serimlediği, sinemasının dilini oluşturan “mekân, ses, müzik, doğa, kırsal, dil” gibi temel öğeleri iktidarın toplum üzerindeki sınırlandırıcı etkisini ve denetimini görünür kılmak amacıyla kullandığı ve bu yolla eleştirel politik bir söyleme ulaştığı görülmüştür. Son tahlilde; Ghobadi sineması bir yandan iktidarın denetim ve gözetim araçlarını somutlaştıran imgeler sunar. Diğer yandan baskıya karşı direnişin politik imgelerini üretir.
The aim of this thesis is to reveal the political elements of Ghobadi's cinema in the context of Foucault. The political images in six feature films directed by Ghobadi were identified and an attempt was made to reveal political discourses through Foucault's concepts of power, surveillance, control through content analysis. The subjects Ghobadi deals with are images reflected from real life events. The director dealt with the prohibitions and oppressions on women, human tragedies such as the Halabja massacre, the Kurds bombed by the Saddam Regime during the Iran-Iraq War, the problems of the Kurdish community who were left without options to survive against oppressive regimes and engaged in smuggling at the border. He filmed these subjects, which are a common problem not only of the Kurds but of humanity, in a realistic style with amateur actors from the local people. The political power of Ghobadi's cinema comes from the fact that it deals with all these elements against a prohibitive and oppressive administration and does not back down against pressures such as censorship. The films examined in the context of Foucault; It has been demonstrated that Ghobadi produces images that imply resistance against oppressive, restrictive, and controlling power. In his films, which Ghobadi occasionally shoots with a documentary approach, both by resorting to natural narrative images and by using amateur actors, it has been seen that he presents the local elements of the Kurdish society in Iran, which is the main subject of his works, and uses the basic elements such as “space, sound, music, nature, countryside, language” that constitute the language of his cinema in order to make visible the restrictive effect and control of the power on society, and in this way reaches a critical political discourse. In the final analysis; on the one hand, Ghobadi’s cinema presents images that embody the control and surveillance tools of the power. On the other hand, it produces political images of resistance against oppression.
The aim of this thesis is to reveal the political elements of Ghobadi's cinema in the context of Foucault. The political images in six feature films directed by Ghobadi were identified and an attempt was made to reveal political discourses through Foucault's concepts of power, surveillance, control through content analysis. The subjects Ghobadi deals with are images reflected from real life events. The director dealt with the prohibitions and oppressions on women, human tragedies such as the Halabja massacre, the Kurds bombed by the Saddam Regime during the Iran-Iraq War, the problems of the Kurdish community who were left without options to survive against oppressive regimes and engaged in smuggling at the border. He filmed these subjects, which are a common problem not only of the Kurds but of humanity, in a realistic style with amateur actors from the local people. The political power of Ghobadi's cinema comes from the fact that it deals with all these elements against a prohibitive and oppressive administration and does not back down against pressures such as censorship. The films examined in the context of Foucault; It has been demonstrated that Ghobadi produces images that imply resistance against oppressive, restrictive, and controlling power. In his films, which Ghobadi occasionally shoots with a documentary approach, both by resorting to natural narrative images and by using amateur actors, it has been seen that he presents the local elements of the Kurdish society in Iran, which is the main subject of his works, and uses the basic elements such as “space, sound, music, nature, countryside, language” that constitute the language of his cinema in order to make visible the restrictive effect and control of the power on society, and in this way reaches a critical political discourse. In the final analysis; on the one hand, Ghobadi’s cinema presents images that embody the control and surveillance tools of the power. On the other hand, it produces political images of resistance against oppression.