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İran Yeni Dalga Sineması'nda Dariuş Mehrcui Filmlerinin Sosyolojik Analizi

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İran Yeni Dalga Sineması'nda Dariuş Mehrcui Filmlerinin Sosyolojik Analizi T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ RADYO TELEVİZYON SİNEMA ANABİLİM DALI YÜKSEK LİSANS TEZİ İran Yeni Dalga Sineması’nda Dariuş Mehrcui Filmlerinin Sosyolojik Analizi Arezou ABDİ 2501160739 TEZ DANIŞMANI Dr. Öğr. Üyesi Ümit SARI İSTANBUL – 2019 ÖZ İran Yeni Dalga Sineması’nda Dariuş Mehrcui Filmlerinin Sosyolojik Analizi AREZOU ABDİ Yansıtma yaklaşımını kuramsal çerçeve olarak benimseyen bu tez, İran Yeni Dalga Sineması sırasında İran’daki sosyal gelişmelerin Dariuş Mehrcui filmlerinde nasıl temsil edildiğini araştırmaktadır. Mehrcui, İran Yeni Dalga Sineması dönemi boyunca, sosyolojik olarak bu çalışmada da incelenen, dört film çekmiştir: İnek, Safdil Bey, Postacı ve Mina’nın Dairesi. Sosyolojik konseptler, medya araştırmacısı Arthur Asa Berger’in tanımları kullanılarak açıklanmıştır ve Saussure göstergebilimi, bu kavramları filmlerden çıkarmak için kullanılmıştır. Sosyolojik konseptler filmler izlenerek çıkarılmış ve filmlerin yapıldığı dönemde bahsi geçen İran toplumundaki gelişmelerden bahseden mevcut dokümanlar ile karşılaştırılarak son analiz tamamlanmıştır. Bu çalışmanın bulguları, İran toplumunu etkileyen ve incelenen filmlerde gösterilen değişikliklerin; kırsaldan şehre göç, kadının değişen sosyal rolü ve sosyal varoluşu, gelenek ve modernitenin zıtlaşması, ekonomik sistemin feodalizmden kapitalizme dönüşmesi, petrol ihracatına aşırı bağımlı hale gelen tek ürün ekonomisi, devlet çalışanları arasındaki yozlaşma, modern kültürün geleneksel kültürün yerini alma sürecinde insanın yabancılaşması, batılılaşma, entelektüellerin toplum sorunlarına karşı olan kayıtsızlıkları ve ilgisizliklerinin eleştirisi, anomalilerin, ahlaksız ve insanlık dışı davranışların yayılması olduğunu göstermektedir. Anahtar Kelimeler: İran Sineması, Dariuş Mehrcui, Daryuş Mehrcui, Yeni Dalga, Akım, Sosyolojik Analiz, Göstergebilim iii ABSTRACT Sociological Analysis of Daryush Mehrcui Films In Iranian New Wave Cinema AREZOU ABDI This thesis by adopting the reflection approach as theoretical framework, illustrates how the social developments of Iran during the Iranian New Wave Cinema, are reflected in Dariuş Mehrcui’s film. Mehrcui, during the period of the Iranian New Wave Cinema has directed four films of The Cow, Mr. Naive, The Postman and The Cycle which are examined sociologically in this study. Sociological concepts are explained using the definition of media researcher Arthur Asa Berger, and Saussure semiotics is used to extract these concepts form the films. The sociological concepts are extracted by watching the films and finally by comparing them with the existing documents on the mentioned developments in Iranian society at the time of making the films, final analysis is done. The findings of this study show that the changes that have affected Iranian society and are illustrated in the films studied are rural migration to cities, changing the social role of women and their social presence, confronting tradition and modernity, changing the economic system from feudal to capitalist, single product economy by extreme dependence on oil exports, corruption in government employees, human alienation in the process of replacing modern culture with traditional culture, westernization, criticism of intellectuals for inaction and incuriosity about the society problems and the spread of anomalies and immoral and inhumane behaviors. Keywords: The New Wave, Iranian Cinema, Dariush Mehrjui, Daryush Mehrcui, Sociological Analysis, Semiotics, Semiology iv ÖNSÖZ İran’daki sosyal gelişmelerin, İran Yeni Dalga Sineması döneminde yapılan filmlere, özellikle de İran Yeni Dalga Sineması’nın tanınmış ve öncü yönetmenlerinden olan Dariuş Mehrcui filmlerinde temsil edildiğini varsayarsak, bu çalışmanın amacı; yönetmenin Yeni Dalga filmlerindeki sosyolojik konseptleri ve bunları sunum şekillerini keşfetmektir. Bu araştırmanın önemi, İran Sineması tarihinin nispeten kısa ama önemli bir döneminin önemine bağlanabilir. Çünkü bu dönemin filmleri sadece estetik olarak öncülük etmekle kalmamakta, aynı zamanda onları sosyolojik olarak araştırılabilir kılan temalar da içermektedir. Böylece, sinema veya medya okuryazarlığına ihtiyaç duymadan herhangi bir izleyici, bu filmlerin içeriği ile o dönemin sözde Filmfarsi olarak adlandırılan ana akım sinemasının filmleri arasındaki açık farkı ayırt edebilmektedir. Ancak bu filmlerin içeriği konusunda, özellikle sosyolojik açıdan, bir araştırma eksikliği vardır. Bu nedenle, bu tür araştırmalar, bu alanda daha fazla araştırma yapılmasının önünü açabilir ve bu alandaki literatür boşluğunu doldurabilir. Bu çalışmada, araştırmanın kapsamı, İran Yeni Dalga Sineması sırasında yapılan Dariuş Mehrcui’nin dört filmini içermektedir. Bunlar sırasıyla İnek (1969), Safdil Bey (1971), Postacı (1972) ve Mina’nın Dairesi (1978) filmleridir. Bu tezin konusu doğrudan İran Sineması ile ilgilidir. Bu nedenle, Farsçadaki orijinal kaynaklara erişim ihtiyacı şiddetle hissedilmiştir. Çünkü ancak bu şekilde İran Sineması profesörlerinden ve uzmanlarından alınan en son belgeler ve rehberlikleri kullanılarak kapsamlı bir araştırma yapılması mümkün olmaktadır. Birçok soruna rağmen, araştırmacı iki sefer ikişer aylık periyodlar halinde toplam dört ay İstanbul’daki evinden ayrılmıştır. Tüm zorluklara karşın bu yolculuklar araştırma sürecinde çok yararlı olmuştur. Ayrıca İran Ulusal Kütüphanesi’nde bulunan kitap kaynakları ve tezler bu araştırmada büyük ölçüde kullanılmıştır. v Bu tezi yazma sürecini yavaşlatan bir diğer sorun da Farsça ve İngilizce kaynakların Türkçeye çevrilmesi ihtiyacıdır. Akademik metinleri çevirmek profesyonel bir iştir ve hem Farsça hem de Türkçede uzmanlık ve akıcılık gerektirmektedir. Çok sayıda araştırma, deneme yanılma ve kayda değer bir zaman kaybından sonra, nihayet Farsçadan İngilizceye çevrilmesine ve daha sonra Türkçe ve İngilizceye hâkim bir Türk vatandaşı çevirmen tarafından Türkçeye çevrilmesine karar verilmiştir. Tezde bahsi geçen araştırmacı olarak, bana desteklerini sunan herkese teşekkürlerimi sunuyorum. Öncelikle eşime, onun yanında ve onun için harcamam gereken uzun bir zamanı, tezimi bitirmem adına bana cömertçe bağışladığı için teşekkür ediyorum. Bana rehberlik etmek için çok zaman harcayan İran Sanat Akademisi Araştırma Merkezi Müdürü Dr. Abdolhossein Laleh’e de ayrıca teşekkür etmek istiyorum. Tezin neredeyse başından sonuna kadar gösterdiği hassasiyet ve büyük ilgi ile araştırmadaki bazı hatalara dikkat çeken ilk danışman hocam Dr. Mesut Aytekin’e de teşekkürlerimi sunuyorum. Son olarak, bu tezin sonraki danışmanı olan Profesör Ümit Sarı’ya bu sorumluluğu kabul ettiği için teşekkür ediyorum. AREZOU ABDI İSTANBUL, 2019 vi ÖZ ....................................................................................................................................................... İİİ ABSTRACT ..................................................................................................................................... İV ÖNSÖZ ............................................................................................................................................... V GİRİŞ .................................................................................................................................................. 1 BİRİNCİ BÖLÜM ARAŞTIRMANIN ÇERÇEVESI 1.1. AMAÇ ..................................................................................................................... 4 1.2. ÖNEM ....................................................................................................................... 6 1.3. KAPSAM ................................................................................................................... 7 1.4. HİPOTEZ ................................................................................................................... 7 1.5. KURAMSAL ÇERÇEVE ............................................................................................... 8 1.6. ARAŞTIRMANIN METODOLOJİSİ VE KAVRAMLARI .................................................. 11 1.6.1. Sosyoloji Nedir? ............................................................................................. 11 1.6.2. Sosyolojik Analiz ........................................................................................... 12 1.6.2.1. Yabancılaşma .......................................................................................... 13 1.6.2.2. Anomi ...................................................................................................... 14 1.6.2.3. Bürokrasi ................................................................................................. 14 1.6.2.4. Sınıf (Sosyoekonomik) ........................................................................... 15 1.6.2.5. Kültür ...................................................................................................... 16 1.6.2.6. Sapkınlık ................................................................................................. 17 1.6.2.7. Elitler ....................................................................................................... 18 1.6.2.8. Etnik Köken ............................................................................................ 19 1.6.2.9. İşlevsellik ................................................................................................ 19 1.6.2.10. Yaşam Tarzı .......................................................................................... 21 1.6.2.11. Marjinalleşme .......................................................................................
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