Publication: Normal Hayat Diye Bir ŞeyYoktur Dalmaçyalı!:Yugoslavya’nın ParçalanmaSürecinin Bir Alegorisi OlarakKaraula Filmi
Abstract
Yugoslavya Sosyalist Federal Cumhuriyeti (YSFC), İkinci Dünya Savaşı(1939-1945) sonrasında Sovyet Sosyalist Cumhuriyetler Birliği (SSCB)liderliğindeki Demir Perde ülkeleri arasında yer almayı reddeder. KuzeyAtlantik Antlaşması Örgütü’ne (NATO) de dahil olmaz. Daha özgürlükçübir sosyalizmi benimseyerek Üçüncü Dünya’nın öncüsü rolünü üstlenir.Yugoslavya, soğuk savaşın hüküm sürdüğü iki kutuplu dünyada elli yılayakın bir süre ayakta kalmayı başarır. Kurucu lideri Josip Broz Tito’nun(1892-1980) ölümü Yugoslavya için sonun başlangıcı olur. Ekonomikkriz, işsizlik, Batılı yaşam tarzına duyulan özlem ve yükselen milliyetçilik;“kardeşlik ve birlik” sloganında vücut bulan sosyalizm ideallerineduyulan inancın içini boşaltır. Yugoslavya, farklı etnik gruplar arasındakiçatışmaların giderek şiddetlenmesiyle parçalanma sürecine girer.Bu çalışmada, yönetmenliğini Rajko Grlic’in (1947-…) yaptığı Karaula(2006) filmi, amaçlı örneklem olarak seçilmiştir. Filmde, YugoslavyaArnavutluk sınırındaki bir karakolda görev yapan farklı etnik gruplaramensup askerler arasındaki ilişkiler, parçalanma sürecine girenYugoslavya’nın mikro ölçekteki bir temsili olarak sunulmuştur. Filminanalizinde Fredric Jameson’ın (1986; 2008b) Üçüncü Dünya anlatılarınınulusal alegori olarak okunabileceği argümanı temel alınmış; ArjunAppadurai’nin (2008) “öfke coğrafyası”, “kızgınlık fazlalığı”, “aşağılamadürtüsü”, “döneklik”, “ihanet”, “sarsılan güven”, “nefret” ve “komşudehşeti” kavramlarından yararlanılmıştır. Bu çalışmanın amacı, Karaulafilminin, Yugoslavya’nın parçalanma sürecine ilişkin Üçüncü Dünyaanlatılarına özgü bilinçli ve açık bir alegori içerdiğini ortaya koymaktır.
The Socialist Federal Republic of Yugoslavia (SFRY) refused to be among the Iron Curtain countries led by the Union of Soviet Socialist Republics (USSR) after the second World War (1939-1945). Nor did it belong to the North Atlantic Treaty Organization (NATO). It tried to stand out as the pioneer of the Third World countries by adopting a more liberal socialism. Yugoslavia managed to survive in bipolar world dominated by Cold War for nearly fifty years. The death of the founding leader Josip Broz Tito (1892-1980) was the beginning of the end for Yugoslavia. Economic crisis, unemployment, longing for Western lifestyle and rising nationalism emptied the belief regarding the ideals of socialism embodied in the slogan of “brotherhood and unity”. Yugoslavia entered the process of disintegration with the intensification of conflicts between different ethnic groups. In this study, Karaula (2006), directed by Rajko Grlic (1947-…), was selected as a purposeful sample. In the film, relations between soldiers belonging to different ethnic groups serving at a border post on the border between Yugoslavia and Albania are presented as a micro-scale presentation of Yugoslavia which was in the process of disintegration. The analysis of the film is based on Fredric Jameson’s (1986; 2008b) argument that the Third World narratives can be read as national allegory; Arjun Appadurai’s (2008) concepts of “geography of anger”, “the surplus of rage”, “the urge to degradation”, “insulting impulse”, “volatiliy”, “treachery”, “violated trust”, “hatred” and “horror at the neighbor” are utilized. The aim of this study is to reveal that Karaula film contains a conscious and clear allegory specific to the Third World narratives about the disintegration process of Yugoslavia.
The Socialist Federal Republic of Yugoslavia (SFRY) refused to be among the Iron Curtain countries led by the Union of Soviet Socialist Republics (USSR) after the second World War (1939-1945). Nor did it belong to the North Atlantic Treaty Organization (NATO). It tried to stand out as the pioneer of the Third World countries by adopting a more liberal socialism. Yugoslavia managed to survive in bipolar world dominated by Cold War for nearly fifty years. The death of the founding leader Josip Broz Tito (1892-1980) was the beginning of the end for Yugoslavia. Economic crisis, unemployment, longing for Western lifestyle and rising nationalism emptied the belief regarding the ideals of socialism embodied in the slogan of “brotherhood and unity”. Yugoslavia entered the process of disintegration with the intensification of conflicts between different ethnic groups. In this study, Karaula (2006), directed by Rajko Grlic (1947-…), was selected as a purposeful sample. In the film, relations between soldiers belonging to different ethnic groups serving at a border post on the border between Yugoslavia and Albania are presented as a micro-scale presentation of Yugoslavia which was in the process of disintegration. The analysis of the film is based on Fredric Jameson’s (1986; 2008b) argument that the Third World narratives can be read as national allegory; Arjun Appadurai’s (2008) concepts of “geography of anger”, “the surplus of rage”, “the urge to degradation”, “insulting impulse”, “volatiliy”, “treachery”, “violated trust”, “hatred” and “horror at the neighbor” are utilized. The aim of this study is to reveal that Karaula film contains a conscious and clear allegory specific to the Third World narratives about the disintegration process of Yugoslavia.