Publication: Ertem Eğilmez sinemasının üretiminde bir gösterge olarak: “grotesk halk kültürü”
Abstract
ERTEM EĞİLMEZ SİNEMASININ ÜRETİMİNDE BİR GÖSTERGE OLARAK: “GROTESK HALK KÜLTÜRÜ” Bu çalışmada Ertem Eğilmez’in güldürü filmlerinde “grotesk halk kültürü” öğelerinin incelenmesi amaçlanmıştır. Rus dilbilimci Mihail Mihailoviç Bahtin’in “karnaval” ve “grotesk gerçekçilik” kavramları, çalışmanın kuramsal zeminini oluşturmaktadır. Alper Akçam’ın “grotesk halk kültürü” başlığında topladığı bu kavramlar, Bahtin’in sözlü halk kültürü ile mizah ilişkisini de nitelediğinden, bu çalışmanın içeriğine kaynaklık etmiştir. Ertem Eğilmez güldürüleri, üretildiği dönemin toplumsallaşma pratikleri doğrultusunda inşa edilen ve bu manada sosyolojik okumaya imkân veren metinlerdir. Bir popüler kültür ürünü olarak ele alınan bu filmlerin anlatısal özellikleri değerlendirildiğinde, popüler metinler ile popüler kültür arasında kurulan ilişki görünür hâle gelmiştir. Bu bağlamda, öncelikle popüler kültür, popüler sinema ve grotesk halk kültürü arasındaki ilişki incelenmiştir. Karnavalesk üslubun Türk mizahındaki karşılığı olan Karagöz de güldürü filmlerinin anlatı yapısında etken rol oynamıştır. Grotesk halk kültürünün filmlerin anlatı yapısı içerisindeki işlevsel niteliği ise Kemal Sunal’ın oyunculuk üslubu merkeze alınarak açıklanmıştır. Grotesk halk kültüründe gülme, toplumsal ve kolektif bir doğa içermektedir. Türk sinema izleyicisinin filmler üzerinde kurdukları ortak beğeninin kaynağı da bu gülme eylemidir. Dolayısıyla çalışmada varılan sonuç, seyircinin filmler üzerindeki duygusal katılımının karnavalesk gülme aracılığı ile gerçekleştiği görüşüdür.
GROTESQUE FOLK CULTURE AS AN INDICATION IN ERTEM EĞİLMEZ FILM PRODUCTION This paper aims to examine elements of “grotesque folk culture” in Ertem Eğilmez’ comedy films. Russian linguist Mikhail Mikhailovich Bakhtin’s concepts of the “carnival” and “grotesque realism” constitute the conceptual basis of this paper. Alper Akçam who compiled these concepts under the heading “grotesque folk culture” in fact describes Bakhtin’s relation between oral folk culture and humour and therefore has become reference to the content of the paper. The texts behind Ertem Eğilmez’ comedies were constructed in line with the socialisation practices of the period they were filmed in, and in this sense they permit sociological readings. Such films have been embraced as the product of popular culture and an evaluation of their narrative qualities makes apparent the relation established between popular texts and popular culture. In this context, the paper initially examines popular culture and the relation between popular cinema and grotesque folk culture. Karagöz, the equivalent of carnivalesque in Turkish humour, has played a decisive role in the narrative structure of comedy films. The functional characteristics of grotesque folk culture in the narrative structure of movies have been explained with a focus on Kemal Sunal’s acting style. Laughter in grotesque folk culture contains a sociological and collective nature. It is this act of laughing that is the source of a common liking the Turkish cinema audience has constructed on these movies. Therefore, the conclusion of this paper is the opinion that the audience’s emotional involvement on the films is realised through carnivalesque laughter.
GROTESQUE FOLK CULTURE AS AN INDICATION IN ERTEM EĞİLMEZ FILM PRODUCTION This paper aims to examine elements of “grotesque folk culture” in Ertem Eğilmez’ comedy films. Russian linguist Mikhail Mikhailovich Bakhtin’s concepts of the “carnival” and “grotesque realism” constitute the conceptual basis of this paper. Alper Akçam who compiled these concepts under the heading “grotesque folk culture” in fact describes Bakhtin’s relation between oral folk culture and humour and therefore has become reference to the content of the paper. The texts behind Ertem Eğilmez’ comedies were constructed in line with the socialisation practices of the period they were filmed in, and in this sense they permit sociological readings. Such films have been embraced as the product of popular culture and an evaluation of their narrative qualities makes apparent the relation established between popular texts and popular culture. In this context, the paper initially examines popular culture and the relation between popular cinema and grotesque folk culture. Karagöz, the equivalent of carnivalesque in Turkish humour, has played a decisive role in the narrative structure of comedy films. The functional characteristics of grotesque folk culture in the narrative structure of movies have been explained with a focus on Kemal Sunal’s acting style. Laughter in grotesque folk culture contains a sociological and collective nature. It is this act of laughing that is the source of a common liking the Turkish cinema audience has constructed on these movies. Therefore, the conclusion of this paper is the opinion that the audience’s emotional involvement on the films is realised through carnivalesque laughter.