Publication: Bağımsızlık öncesi Kırgız sinemasında Sovyet ideolojisinin sunumu
Abstract
BAĞIMSIZLIK ÖNCESİ KIRGIZ SİNEMASINDA SOVYET İDEOLOJİSİNİN SUNUMUSinema egemen sınıfların ideolojilerini sunmakta yararlandıkları önemli bir kitle iletişim aracıdır. Egemen sınıfların ideolojilerini kabullendirme ve toplum üzerinde hegemonya kurmada yararlandığı sinemadan, kuruluşundan itibaren Sovyetler Birliği’de yararlanmış, halkı Marksist-Leninist ideoloji çervevesinde dönüştürmeyi hedeflemiştir. Brejnev iktidarıyla birlikte artan baskı ve sansür politikaları tüm Sovyetler’de olduğu gibi Kırgızistan SSC’yi de etkilemiştir. Hayatın her alanında görülen baskı ve sansürün sinemayı da etkilemesi sonucu Sovyet yönetmenler risksiz gördükleri edebiyat eserlerine yönelmiştir. Kırgızistan SSC’de sinemada ulusallaşma hareketleri olarak bilinen bu dönemde yönetmenler Aytmatov’un eserlerini sinemaya uyarlamıştır. Dönem her ne kadar ulusallaşma hareketleriyle öne çıksa da milli edebiyat eserlerinden uyarlanan filmler Marksist-Leninist ideoloji çerçevesinde dönüştürülerek rejimin çizgisinde çekilmiştir. Bu bağlamda, rejimin sinemayı ideolojik aygıt olarak kullanımını da inceleyen çalışmada, Kırgız sinemasının bağımsızlık öncesi döneminde Sovyet ideolojisinin sinema üzerinden nasıl sunulduğunu, örneklem bağlamında seçilen, Brejnev döneminde Kırgızistan SSC’de çekilen Aytmatov uyarlamalarıİlk Öğretmen (1965),Kızıl Elma(1975),Erken Gelen Turnalar(1979) adlı filmler üzerinden ortaya koymak amaçlanmıştır. Roland Barthes’in “göstergebilimsel analiz modeli” ile çözümlenen filmlerde, ulaşılan bulgularda, Sovyet ideolojisinin, rejimin çıkarları çerçevesinde, Brejnev iktidarının inşa politikalarından“Sovyet İnsanı” kimliği öne çıkarılarak, tek tipleştirmelere yer verilerek,Marksizm-Leninizmegöndermeler yapılarak sunulduğu saptanmış, rejimin bu süreçte sinemayı ideolojik aygıt olarak kullandığı gözlemlenmiştir. SSCB, Kırgız SSC, Kırgız Sineması, Sovyet İnsanı, Sovyet İdeolojisi, Tek tipleştirme.)
PRESENTATION OF SOVIET IDEOLOGY IN PRE-INDEPENCE KYRGYZ CINEMA Cinema is an important mass communication tool used by the dominant classes to present their ideologies. The dominant classes used cinema to impose their ideologies and establish hegemony over society. Since its establishment, the Soviet Union has also benefited from cinema aiming to transform the public within the framework of Marxist-Leninist ideology. The increasing repression and censorship policies of the Brezhnev government affected the Kyrgyz SSR as much as they did the entire Soviet Union. As a result of the repression and censorship seen in all areas of life, Soviet directors began to adapt literary works to the cinema. In the Kyrgyz SSR, during this period known as the nationalization movements in cinema, directors adapted Aitmatov's works to the cinema. Although the period was characterized by nationalization movements, films adapted from national literary works were transformed within the framework of Marxist-Leninist ideology and produced in line with the regime. In this regard, by examining the regime's use of cinema as an ideological apparatus, the study aims to reveal how Soviet ideology was presented through cinema in the pre-independence period of Kyrgyz cinema through a sample of Aitmatov adaptations filmed in the Kyrgyz SSR during the Brezhnev era, namely The First Teacher (1965), The Red Apple (1975), Early Cranes (1979). The findings of the films analyzed using Roland Barthes' semiotic analysis model revealed that the regime used cinema as an ideological apparatus in this period by emphasizing the Soviet Man identity, which was one of the construction policies of the Brezhnev government, and by including uniformization and references to Marxism-Leninism within the interests of Soviet ideology and the regime. SSR , Kyrgyz SSR, Kyrgyz Cinema, Soviet Man, Soviet Ideology, Uniformazition.)
PRESENTATION OF SOVIET IDEOLOGY IN PRE-INDEPENCE KYRGYZ CINEMA Cinema is an important mass communication tool used by the dominant classes to present their ideologies. The dominant classes used cinema to impose their ideologies and establish hegemony over society. Since its establishment, the Soviet Union has also benefited from cinema aiming to transform the public within the framework of Marxist-Leninist ideology. The increasing repression and censorship policies of the Brezhnev government affected the Kyrgyz SSR as much as they did the entire Soviet Union. As a result of the repression and censorship seen in all areas of life, Soviet directors began to adapt literary works to the cinema. In the Kyrgyz SSR, during this period known as the nationalization movements in cinema, directors adapted Aitmatov's works to the cinema. Although the period was characterized by nationalization movements, films adapted from national literary works were transformed within the framework of Marxist-Leninist ideology and produced in line with the regime. In this regard, by examining the regime's use of cinema as an ideological apparatus, the study aims to reveal how Soviet ideology was presented through cinema in the pre-independence period of Kyrgyz cinema through a sample of Aitmatov adaptations filmed in the Kyrgyz SSR during the Brezhnev era, namely The First Teacher (1965), The Red Apple (1975), Early Cranes (1979). The findings of the films analyzed using Roland Barthes' semiotic analysis model revealed that the regime used cinema as an ideological apparatus in this period by emphasizing the Soviet Man identity, which was one of the construction policies of the Brezhnev government, and by including uniformization and references to Marxism-Leninism within the interests of Soviet ideology and the regime. SSR , Kyrgyz SSR, Kyrgyz Cinema, Soviet Man, Soviet Ideology, Uniformazition.)