Publication: İran sinemasında Türk kimliği temsilleri
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Bu çalışmanın konusunu İran sineması ve temsil oluşturmaktadır. Çalışmanın amacı İran sinemasında Türk kimliğinin nasıl temsil edildiğini ortaya çıkarmaktır. Çalışma İran sinemasının dünya ölçeğinde önemli olması ve bu sinema içerisinde yer alan filmlerde İran’daki Azerbaycan kökenli Türklerin temsilinin ortaya çıkarılmasının alana katkı vereceğinden dolayı önemlidir. Çalışma Majid Majidi Avaze Ghonjeshk -ha (Serçelerin Şarkısı) (2008), Baran (Yağmur) (2001), Tam-e Gilas (Kirazın Tadı) (1997), Khane- ye Doust kojast (Arkadaşımın Evi Nerde?) (1987) filmleri örneğinde yapılmıştır. Çalışmanın uygulama kısmında karma yöntem kullanılmış çözümlemede göstergebilimsel ve betimlemeli olarak gerçekleştirilmiştir. Sonuç olarak incelediğimiz dört filmde de görüldüğü üzere Türk temsilindeki karakterler fakir, eğitimsiz, kaba, sinsi, acımasız ve şiddete eğilimli olarak gösterilmiştir. Ayrıca dış görünüş olarak karakterler bakımsız, bıyıklı ve alt işlerde çalışan kişi olarak gösterilmiştir. Bu durum, İran sinemasındaki Türk temsilinin, siyasal, sosyal ve kültürel bağlamlarla şekillendiğini göstermektedir.
This study focuses on Iranian cinema and the concept of representation. Its aim is to explore how Turkish identity is portrayed in Iranian cinema. The significance of the study lies in the global prominence of Iranian cinema and the potential contribution of examining the representation of Azerbaijani Turks in Iran within this cinematic context. The analysis is based on the films The Song of Sparrows (Avaze Gonjeshk-ha, 2008), Baran (2001), Taste of Cherry (Tam-e Gilas, 1997), and Where Is the Friend’s House? (Khane-ye Doust Kojast, 1987), directed by Majid Majidi and Abbas Kiarostami. A mixed-method approach has been adopted in the study, and the analysis is conducted using both semiotic and descriptive methods. The findings reveal that, across the four films analysed, Turkish characters are consistently represented as poor, uneducated, rude, devious, ruthless, and prone to violence. In terms of physical appearance, these characters are depicted as unkempt, moustached, and employed in low-status jobs. These portrayals indicate that the representation of Turks in Iranian cinema is shaped by political, social, and cultural contexts.
This study focuses on Iranian cinema and the concept of representation. Its aim is to explore how Turkish identity is portrayed in Iranian cinema. The significance of the study lies in the global prominence of Iranian cinema and the potential contribution of examining the representation of Azerbaijani Turks in Iran within this cinematic context. The analysis is based on the films The Song of Sparrows (Avaze Gonjeshk-ha, 2008), Baran (2001), Taste of Cherry (Tam-e Gilas, 1997), and Where Is the Friend’s House? (Khane-ye Doust Kojast, 1987), directed by Majid Majidi and Abbas Kiarostami. A mixed-method approach has been adopted in the study, and the analysis is conducted using both semiotic and descriptive methods. The findings reveal that, across the four films analysed, Turkish characters are consistently represented as poor, uneducated, rude, devious, ruthless, and prone to violence. In terms of physical appearance, these characters are depicted as unkempt, moustached, and employed in low-status jobs. These portrayals indicate that the representation of Turks in Iranian cinema is shaped by political, social, and cultural contexts.