Publication: Modern Türkiye mitleri : 2000 sonrası komedi filmlerinde ideolojik söylem
Abstract
2000 yılı sonrası Türkiye sinemasının, vizyon başarısı kazanan yerli filmlerinin yaklaşık yüzde yetmişinin popüler komedi filmleri olması, bu filmlerin hangi söylemler üzerinden anlatı kurduğunu araştırma gereksinimi doğurmuştur. Analiz edilen filmlerin yaygın kültürel tüketim nesneleri olmaları bu filmleri modern kültürel mitler olarak tartışmaya imkan sağlamıştır. Popüler komedi filmlerinde açığa çıkan imgesel gösterenler; nostalji, fallus, aile ve yerlilik-millilik mitleri olarak sınıflandırılmıştır. Nostalji mitiyle, taşrada geçen filmlerin tarihselliği bastıran semptomları görünür kıldığı; yolda geçen filmlerin nostaljik öznenin kuruluşunu tesis ettiği ve geçmişe referans veren filmlerin toplumu kendisinin mitine dönüştüren söylemlerinin olduğu açığa çıkarılmıştır. Fallus mitiyle, kafadar erkek grupları üzerinden anlatı kuran filmlerin tamlık fantazisi oluşturduğu; bedeni groteskleştiren filmlerin modern bireyi bir çeşit kurbana dönüştürdüğü ve engellenen arzular, ertelenmiş hazlar üzerinden komiklikler üreten filmlerin fallik bir paradoksa evrildiği gösterilmiştir. Kutsal Aile mitiyle, evlilik yüceltmesi yapan filmlerin şirketleşen aile yapılarını; romantik komedi filmleri aracılığıyla Oidipal aile söylemini ve normatif aile değerlerinin yitikleşmesini konu alan filmlerle aile hakikatinin nasıl dönüştürdüğü vurgulanmıştır. Yerlilik ve millilik mitiyle, tipik karakterler üzerinden imgesel sunum yapan filmlerin ulusal kimlik söylemlerinin meşruiyet zemininden hareketle kurulduğu; şiveli komedilerin ulusal kimliğe, özcü bir yaklaşımla, saflık ve temizlik gibi erdemler yüklediği ve parodik özelliklerle imgesel gösterenler üreten filmlerin, milliyetçiliğin performatif yapısını görünür kıldığını belirtilmiştir. İç geçişliliği olan bu sınıflandırma, filmlere dışsal bir kavramsal çerçeve dayatmadan, söylem analizi yöntemi kullanılarak, filmlerde görülen sinematografik imge rejimlerinden hareketle yapılmıştır. Çalışmanın temel sonucu; popüler komedi filmlerinin taşıdığı mitsel yapının, sekülerlik ve muhafazakarlık gibi toplumsal kutuplaşma sınırlarını muhafazakarlık lehine belirsizleştirerek, sinik bir toplumsal yapının kurulmasına zemin hazırladığıdır.
The fact that approximately seventy percent of the domestic films that have won the vision success of 2000’s Turkey cinema are popular comedy films has led to the need to research on which discourses these films build. The fact that the analyzed films are common cultural consumption objects has enabled us to discuss these films as modern cultural myths. Imaginary signifiers revealed in popular comedy films are classified as myths of nostalgia, phallus, family, and nativism-nationalism. With the myth of nostalgia, the films set in the provincial reveal symptoms that suppress historicity; the establishment of the nostalgic subject in the films passing on the road and It has been revealed that there are discourses that transform society into its myth in films that refer to the past. With the myth of the phallus, films that build narratives over buddy male groups create a fantasy of completeness; that films that grotesque the body turn the modern individual into a kind of victim and It has been shown that films that produce comedy over thwarted desires evolve into a phallic paradox. The corporate family structures of films that glorify marriage with the myth of the holy family; oedipal family discourse through romantic comedy films and With the films about the disappearance of normative family values, it is emphasized how the family truth is transformed. With the myth of nativism-nationalism, films that make imaginative presentations over typical characters are built on the basis of the legitimacy of national identity discourses; idiomatic comedies, with an essentialist approach, attribute virtues such as purity and cleanliness to national identity and It is stated that the films that produce imaginary signifiers with parodic features make the performative structure of nationalism visible. This classification, which has internal transitivity, was made on the basis of the cinematographic image regimes seen in the films, using the discourse analysis method, without imposing an external conceptual framework on the films. It has been seen that the mythical structure of the image regimes of the analyzed films is effective in the arrangement of a cynical social structure by obscuring the boundaries of social polarization such as secularism and conservatism in favor of conservatism.
The fact that approximately seventy percent of the domestic films that have won the vision success of 2000’s Turkey cinema are popular comedy films has led to the need to research on which discourses these films build. The fact that the analyzed films are common cultural consumption objects has enabled us to discuss these films as modern cultural myths. Imaginary signifiers revealed in popular comedy films are classified as myths of nostalgia, phallus, family, and nativism-nationalism. With the myth of nostalgia, the films set in the provincial reveal symptoms that suppress historicity; the establishment of the nostalgic subject in the films passing on the road and It has been revealed that there are discourses that transform society into its myth in films that refer to the past. With the myth of the phallus, films that build narratives over buddy male groups create a fantasy of completeness; that films that grotesque the body turn the modern individual into a kind of victim and It has been shown that films that produce comedy over thwarted desires evolve into a phallic paradox. The corporate family structures of films that glorify marriage with the myth of the holy family; oedipal family discourse through romantic comedy films and With the films about the disappearance of normative family values, it is emphasized how the family truth is transformed. With the myth of nativism-nationalism, films that make imaginative presentations over typical characters are built on the basis of the legitimacy of national identity discourses; idiomatic comedies, with an essentialist approach, attribute virtues such as purity and cleanliness to national identity and It is stated that the films that produce imaginary signifiers with parodic features make the performative structure of nationalism visible. This classification, which has internal transitivity, was made on the basis of the cinematographic image regimes seen in the films, using the discourse analysis method, without imposing an external conceptual framework on the films. It has been seen that the mythical structure of the image regimes of the analyzed films is effective in the arrangement of a cynical social structure by obscuring the boundaries of social polarization such as secularism and conservatism in favor of conservatism.