Publication: Türk sinema eleştirisinin toplumsal temelleri : 1948-1960 dönemi
Abstract
Türkiye’de sinema eleştirisi, 1940’lı yılların sonu itibariyle büyük bir atılım gösterir. Bunda, sırasıyla 1948 yılında gerçekleşen vergi indirimi ile film üretiminin artması, Türk sinemasının endüstrileşme girişimleri, büyümeye başlayan yazılı basının yaşadığı dönüşüm etkili olur. Gazete ve dergiler günlük ya da haftalık olarak sinema eleştirilerine yer vermeye başlar. Türk sinema eleştirisi tarihi üzerine bugüne kadar büyük oranda nicel çalışmalar gerçekleştirilmiş, ancak sinema yazarlarının ve onların kaleme aldığı yazıların mahiyeti üzerinde yeteri kadar durulmamıştır. Oysa sinema eleştirisi, Türk sinema tarihi göz önüne alındığında, erken Yeşilçam, Yeşilçam ve ardından gelen dönemde sinema alanını belirleyen unsurlardan biri olmanın yanında, sinema düşüncesinin de başat belirleyicileri arasında yer almıştır. Bu çalışma, Türkiye’de sinema eleştirisi olgusunun inşa sürecini merkezine almaktadır. Türkiye’de sinema eleştirisi olgusunun kurumsallaştığı dönemde yazılı basında düzenli olarak sinema üzerine yazılar kaleme alan isimler (gazeteciler, yazarlar gibi) ve yazdıkları metinler üzerinden alanın ilk döneminin temel belirleyenleri ortaya çıkarılmıştır. Bu bağlamda, çağdaş kültür sosyolojisi alanına yeni yöntem ve yaklaşımlar getirmiş olan Pierre Bourdieu’nün alan yaklaşımından yararlanılmış, yazarın yaklaşımı üzerinden alanda faaliyet gösteren aktörlerin sinema düşüncelerini şekillendiren etkenler ortaya çıkarılmıştır. Çalışmanın sonucunda, Türk sinema eleştirisinin büyük oranda Türk sinemasına karşıt bir söylem üzerine inşa edildiği, bunun nedeni olarak da alanda faaliyet gösteren eleştirmenlerin habitus (alan) ve sembolik sermayelerinin onları Yeşilçam sinemasına karşı “olumsuz” bir bakış açısına yönlendirdiği saptanmıştır.
In Turkey, towards the end of the 1940s, the field of cinema criticism has entered into a great leap forward considering the development it has shown up to that date, in line with the tax reduction in 1948, the increase in film production, the growth of the print media, and the industrialization attempts of Turkish cinema. Newspapers and journals started to include film reviews on a daily or weekly basis. A large amount of quantitative studies have been carried out on the history of Turkish cinema criticism, but there has not been enough study on the scope of film critics and their works. However, considering the history of Turkish cinema, cinema criticism has been one of the main determinants of cinema thought as well as being one of the structures that determined the field of cinema in the early Yeşilçam, Yeşilçam and the following periods. This study focuses on the emergence of the phenomenon of cinema criticism in Turkey. In the study, it is aimed to reveal the main determinants of the field in the establishment period, through the names (such as journalists, writers) who regularly written about cinema in printed media. In this context, the field theory of Pierre Bourdieu, who has brought new methods and approaches to the field of contemporary cultural sociology, was used, and the factors shaping the cinematic thoughts of the actors operating in the field were revealed through this approach. As a result of the study, it has been determined that the criticism of Turkish cinema is largely built on a discourse that is contrary to Turkish cinema, and the reason for this is that the habitus (field) and symbolic capitals of the critics operating in the field lead them to a negative point of view towards Yeşilçam cinema.
In Turkey, towards the end of the 1940s, the field of cinema criticism has entered into a great leap forward considering the development it has shown up to that date, in line with the tax reduction in 1948, the increase in film production, the growth of the print media, and the industrialization attempts of Turkish cinema. Newspapers and journals started to include film reviews on a daily or weekly basis. A large amount of quantitative studies have been carried out on the history of Turkish cinema criticism, but there has not been enough study on the scope of film critics and their works. However, considering the history of Turkish cinema, cinema criticism has been one of the main determinants of cinema thought as well as being one of the structures that determined the field of cinema in the early Yeşilçam, Yeşilçam and the following periods. This study focuses on the emergence of the phenomenon of cinema criticism in Turkey. In the study, it is aimed to reveal the main determinants of the field in the establishment period, through the names (such as journalists, writers) who regularly written about cinema in printed media. In this context, the field theory of Pierre Bourdieu, who has brought new methods and approaches to the field of contemporary cultural sociology, was used, and the factors shaping the cinematic thoughts of the actors operating in the field were revealed through this approach. As a result of the study, it has been determined that the criticism of Turkish cinema is largely built on a discourse that is contrary to Turkish cinema, and the reason for this is that the habitus (field) and symbolic capitals of the critics operating in the field lead them to a negative point of view towards Yeşilçam cinema.