Publication: İMPARATORLARIN GÖZLERİ: II. ABDÜLHAMİD'E BERLİN SEFİRİ TARAFINDAN ÖNERİLEN FİLMLER
Abstract
1902 yılında II. Abdülhamid'e Berlin sefiri tarafından önerilen filmlerin odağında erken dönem sinemanın siyasi alandaki yeri üzerinde duran bu makale, Osmanlı ve Alman İmparatorlukları arasında, aktüel çekimlerin ve hareketli görüntünün kullanımı aracılığıyla görsellik üzerinden kurulan ilişkiyi sinema kültürü üzerinden okumayı amaçlamaktadır. Sultan II. Abdülhamid'e sunulan listede adı geçen ve Alman İmparatoru II. Wilhelm'in 1898 tarihinde gerçekleştirdiği ikinci doğu gezisi sırasında çekilen filmlerin, imparatorların kendileri ve halk tarafından izlendiği düşünüldüğünde, sinemanın oldukça erken bir dönemde üstlendiği propaganda işlevi de dikkat çekmektedir. Makalede Berlin sefirinin önerdiği filmler arasında bulunan Seine Majestät von Bethlehem Zurückkehrend (Haşmetli Almanya İmparatoru Hazretlerinin Beytullahm'dan Dönüşü, 1899) filmine ait görüntülerin ekseninde, II. Wilhelm'in ikinci doğu gezisi ve Osmanlı-Alman ilişkilerindeki yeri üzerinde durulacak, bu geziye ait görüntülerin alımlanması ve olası etkileri irdelenecektir. Arşiv belgeleri, gazete ve dergilerden elde edilen bilgiler doğrultusunda sinema ve seyrin, görünme ve görmenin imparatorlukların varlıklarını meşrulaştırma, idame ettirme ve siyasal düzlemde ilişki kurma işlevi üzerine sorular sorulacak ve ulaşılabilen kültürel malzemeler çerçevesinde bu sorulara tarihsel bağlam içinde yanıtlar aranacaktır. Makalenin ağırlık noktasını oluşturan sinema ve siyaset ilişkisi, çalışmanın sonunda yapılan değerlendirmelerin izinde tarihselleştirilmeye çalışılacaktır.
This article, based on films the Berlin Ambassador proposed to Abdul Hamid II in 1902, describes the place of early cinema in the political sphere. The aim is to show the relationship between the Ottoman Empire and the German Empire found in actual shots and moving images and seen from the perspective of cinematic culture. It is of special interest here that cinema fulfilled the function of propaganda in its early years. The films proposed to the Sultan by the Ambassador were shot during the German Emperor's second trip to the Orient and had been seen by the Emperor himself. Based on the movie Seine Majestät von Bethlehem Zurückkehrend (Return of his Majesty from Bethlehem, 1899), which was included in the proposed list, this article is focused on the Kaiser's second trip and its role in the relationship of the two empires. Perception of this trip and its possible effects are discussed. Prompted by information gathered from archived records, newspapers, and journals, the article asks questions about the role of cinema in justifying and sustaining the existence of the empires, and, within the frame of cultural material, proposes answers to the questions in an historical context. The historical relationship between cinema and politics is the focal point of the article.
This article, based on films the Berlin Ambassador proposed to Abdul Hamid II in 1902, describes the place of early cinema in the political sphere. The aim is to show the relationship between the Ottoman Empire and the German Empire found in actual shots and moving images and seen from the perspective of cinematic culture. It is of special interest here that cinema fulfilled the function of propaganda in its early years. The films proposed to the Sultan by the Ambassador were shot during the German Emperor's second trip to the Orient and had been seen by the Emperor himself. Based on the movie Seine Majestät von Bethlehem Zurückkehrend (Return of his Majesty from Bethlehem, 1899), which was included in the proposed list, this article is focused on the Kaiser's second trip and its role in the relationship of the two empires. Perception of this trip and its possible effects are discussed. Prompted by information gathered from archived records, newspapers, and journals, the article asks questions about the role of cinema in justifying and sustaining the existence of the empires, and, within the frame of cultural material, proposes answers to the questions in an historical context. The historical relationship between cinema and politics is the focal point of the article.