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Sinemada Faşizm Ideolojisinin Eleştirel Sunumu:“Çöl

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Sinemada Faşizm Ideolojisinin Eleştirel Sunumu:“Çöl ULUSLARARASI SOSYAL BİLİMLER DERGİSİ 69 INTERNATIONAL JOURNAL OF SOCIAL SCIENCES Cilt / Vol.: 1 , Sayı / Is.: 1, Yıl / Year: 2018, Sayfa / Pages: 69-88 SİNEMADA FAŞİZM İDEOLOJİSİNİN ELEŞTİREL SUNUMU: “ÇÖL ASLANI ÖMER MUHTAR” FİLMİ VE GÖSTERGEBİLİMSEL ANALİZİ İlker İSPİR1 ÖZET Bu çalışmada, yapımcılığını ve yönetmeliğini Mustafa Akkad’ın yaptığı 1981 ABD-Libya ortak yapımı Çöl Aslanı Ömer Muhtar (Omar Mukhtar Lion of the Desert) filmi göstergebilimsel analiz yöntemine tabi tutularak incelenmiştir. Film, dönemin Libya devlet başkanı Muammer Kaddafi’nin finansörlüğünde, büyük bir bütçe ayrılarak hazırlanmıştır. Filmde, İtalyan faşist diktatör Benito Mussolini’nin Libya’yı işgali sırasında, Ömer Muhtar liderliğinde başlayan Libya halkının mücadelesi konu edilmektedir. Bu çalışmada, ünlü Fransız göstergebilimci Roland Barthes’ın göstergebilimsel modeli esas alınarak inceleme yapılmıştır. Barthes’ın yananlam (connotation) ve düzanlam (denotation) bağlamında, verilmek istenen açık ve gizli mesajlar yorumlanarak filmdeki temel ideoloji açıklanmaya çalışılmıştır. Elde edilen bulgular değerlendirildiğinde, faşizm ideolojisinin filmde ağır bir şekilde eleştiriye maruz bırakıldığı, filmi finanse eden Libya halkının ise vatanlarını savunan kahramanlar olarak sunulduğu görülmüştür. Anahtar Kelimeler: Faşizm, Sinema, Göstergebilim, İdeoloji, Roland Barthes THE CRITICAL PRESENTATION OF FASCISM IDEOLOGY IN CINEMA: “OMAR MUKHTAR LION OF THE DESERT” FILM AND SEMIOTICS ANALYSIS ABSTRACT In this study, 1981 USA-Libyan co-production film Omar Mukhtar Lion of the Desert, produced and directed by Mustafa Akkad, was examined under the semiotic analysis. The film was prepared with a large budget, funded by Libyan President Muammer Gaddafi. The film focuses on the struggle of the Libyan people, who started under the leadership of Omer Mukhtar during the occupation of Libya by the Italian fascist dictator Benito Mussolini. This study was based on the semiotic model of the famous French semiotist, Roland Barthes. Barthes attempted to explain the basic ideology in the film by interpreting clear and confidential messages to be given in the context of connotation and denotation. When the findings were evaluated, it was 1 İnönü Üniversitesi, Sosyal Bilimler Enstitüsü, Yönetim ve Organizasyon ABD., Yüksek Lisans Öğrencisi ULUSLARARASI SOSYAL BİLİMLER DERGİSİ INTERNATIONAL JOURNAL OF SOCIAL SCIENCES Cilt / Vol.: 1 , Sayı / Is.: 1, Yıl / Year: 2018, Sayfa / Pages: 69-88 70 seen that the ideology of fascism was seriously exposed to criticism in the film, and the people of Libya who financed the film were presented as heroes defending their homeland. Keywords: Fascism, Cinema, Semiology, Ideology, Roland Barthes Giriş İktidardaki egemen güçler, ideolojilerini sinema aracılığıyla etkili bir şekilde kitlelere sunabilmektedir. Özellikle dünya coğrafyasında farklı ideolojilerin hakim olduğu 20. yüzyıl, ideolojik filmlerin altın çağını yaşadığı bir dönem olmuştur. Nitekim sinema olağanüstü bir şekilde kitleleri etkileyebilmekte ve ideolojik söylemlerin etkin bir şekilde kitlelere sunulmasını sağlayabilmektedir (Taylor ve Christie, 1994, s. 209). Bu etki sinemada ideolojik söylemler temelinde kimi zaman övgü amaçlı kullanılırken, kimi zamanda yergi amaçlı kullanılmıştır. Nitekim, sinemada, 2. Dünya Savaşı döneminde, Hitler Almanyası Nazizm ideolojisi, Mussolini İtalyası ise faşizm ideolojisi ile Sovyet komünizme yönelik büyük bir savaş vermiştir. Her iki devletin de tarihe karıştığı 1945 yılından sonraki Soğuk Savaş döneminde ise ABD liberalizm ideolojisi ile sinemada komünizm ideolojisine karşı savaşı sürdürmüştür. Bu ideolojiler içinde sinemada en ağır eleştiri alanlardan biri de İtalya’da 1922 yılında ortaya çıkan faşizm ideolojisi olmuştur. Özellikle, 1945 yılında Faşist İtalyan Devleti’nin çökmesinin ardından, sürekli olarak faşizm ideolojisini eleştiren filmler çekilmiştir. İtalyan faşizmini konu alan ve acımasızca eleştiren filmleri, genel olarak İtalyan’ın başını çektiği uluslararası ortak yapım filmler oluşturmaktadır. İtalyan- Fransız ortak yapımı Amarcord -1973, İtalyan -Fransız- Alman ortak yapımı Konformist (Il conformista -1970), İtalyan -Fransız ortak yapımı Salo ya da Sodom’un 120 Günü (Salò o le 120 giornate di Sodoma -1975) İtalyan Faşizmini konu alan filmlerin başında gelmektedir. Bu filmlerde faşizm en korkutucu yüzüyle kitlelere sunulmuş, bir ideolojinin toplumu ne yönde olumsuz etkileyebileceği en açık şekilde ortaya konmuştur. Kapsamlı bir literatür taraması yapıldığında, faşizm ideolojisinin sinemada sunumunu göstergebilimsel analiz yöntemi kullanarak inceleyen herhangi bir çalışmanın olmadığı gözlemlenmiştir. Bu açıdan mevcut çalışma, özgün bir eser olması, alandaki boşluğu bir ölçüde gidermesi ve gelecek çalışmalar için öncü niteliği taşıması bağlamında akademik literatürde büyük önem taşıyacaktır. İdeolojilerin sinemada sunumuna yönelik yapılan kapsamlı literatür taramasında ise Çakı ve arkadaşlarının (2017) “Türk Sinemasında Nazizm İdeolojisi: “Kırımlı” Filmi ve Göstergebilimsel Analizi” adlı çalışmanın bu alandaki tek mevcut çalışma olduğu görülmüştür. Çalışmada, Burak Cem Arlıel’in 2014 yapımı Kırımlı filmi Nazizm ideolojisi bağlamında göstergebilimsel analiz yöntemi kullanılarak incelenmiştir. Elde edilen bulgular çerçevesinde, Nazizm ideolojisinin, dünya sinemasıyla paralel olarak ağır eleştirilere maruz kaldığı ortaya konmuştur. Bu amaçla, 1981 ABD-Libya ortak yapımı Çöl Aslanı Ömer Muhtar filminin göstergebilimsel analiz yöntemi kullanılarak, faşizm ideolojisini ne şekilde sunduğu ortaya konmaya çalışılmıştır. Çalışmanın kuramsal boyutunda ünlü Fransız göstergebilimci Roland Barthes’ın göstergebilimsel analiz yöntemi kullanılmıştır. Barthes’ın ortaya koyduğu düzanlam ve İ. İSPİR yananlam boyutunda film incelenerek analiz edilmiştir. Çalışmadan elde edilen bulguların 71 ışığında, faşizm ideolojisinin yananlam ve düzanlam boyutunda, filmde ağır bir eleştiriye maruz bırakıldığı ortaya konmuştur. Filmde, faşist askerlerin emperyalist amaçlar güderek Libya’yı işgal ettiği, büyük bir imparatorluk kurmak amacıyla Müslümanlara yönelik katliamlara giriştiği yansıtılırken, filmin finansörü olan Libya halkı ise, vatanları için savaşan kahramanlar olarak gösterilmiştir. 1. Faşizm İdeolojisi Faşizm resmi olarak 23 Mart 1919 tarihinde, Benito Mussolini önderliğindeki bir grup İtalyan’ın sosyalizme savaş açarak başlattıkları hareket ile meydana geldi (Paxton, 2007, s. 5). İlerleyen süreçte, 1920’li yılların başında faşizm, İtalya’da hızla güçlenmeye başladı (Palla, 1994, s. 9). Faşist hareketin başında yer alan Mussolini’nin İtalya’da etkili bir politikacı olması (Gregor, 2014, s. 76), mevcut iktidara duyulan tepki ve ülkede etkisini derinden hissettiren işsizlik (Alexander, 2000, s. 8) faşizm ideolojisinin geniş kitleler tarafından kısa sürede benimsenmesine ve İtalya’da iktidar olmasına kadar gidecek olan sürece yol açtı. Faşizm terimi hem siyasi hem de dini alanlarda duygusal açıdan yüklü bir kavramı temsil eder (Holmes vd., 2006, s. 180). Nitekim, faşizm temel olarak onun yapısından ve hareketinden devlet olarak “sivil bir din” oluşturma çabası içinde doğmuştur. Faşist ideoloji, bütün mitleri içine alan, yeni bir inanç ve sadakat içinde tüm takipçilerini bir araya getiren yeni bir sistem inşası için uğraşmaktaydı (Payne, 1991, s. 9). Pek çoklarına göre İtalyan faşizminin ritüelleri ve sembolleri kendine has laik bir dinin temellerini meydana getirirken, aynı zamanda, kendi ahlak sistemini de ortaya koymaktaydı (Gentile, 1990, s. 229). Bu yüzden, bugün hala bazı bilimciler, faşizmin bir ideolojiden çok bir inanç sistemi olduğu konusunda hemfikirdir (Gregor, 1979, s. 237). Çoğu çevre tarafından, Nazizm ideolojisi Almanya ve dönemin Alman Devlet Başkanı Adolf Hitler ile iç içe geçmiş kavramlar olarak kabul edilmektedir. Aynı şekilde faşizm denilince ilk akla gelen kavramlar da İtalya ve dönemin İtalyan Devlet Başkanı Benito Mussolini olmaktadır. Bu açıdan, faşizm tanımı yapılırken, faşist hareketin 1919 -1945 yılları arasında Benito Mussolini’nin başını çektiği ve 1925-1945 yılları arasında İtalya’nın resmi devlet ideolojisi haline gelen politik güç olduğu şeklinde açıklanır. Nitekim, faşizm kelimesinin kökenine bakıldığında, faşizm ismi İtalyancadaki “fascismo” kelimesinden gelmektedir. Kelimenin kökeni bile İtalyan kültürünün bir parçası olduğunu göstermektedir (Griffen, 1991, s. 1). Faşizm olgusu resmi olarak, İtalya’da ortaya çıksa da, Nazizm ideolojisi gibi Alman kültürüne özgü bir yapıya sahip değildir. Nitekim başta 1930’lu yıllarda General Francisco Franco tarafından İspanya’da kurulan faşist yönetim gibi, pek çok ülkede zaman içinde faşist ideolojik yapıya sahip yönetimler tesis edilmiştir. Bu açıdan, faşizmi bir Mussolini veya Hitler hareketi olarak değerlendirerek, onu dar kalıplara sokmak doğru değildir (Reich vd., 1970, s. 1520). Ayrıca, faşizm ideolojisi, günümüzde neo-faşizm adı altında farklı ülkelerde hala ortaya çıkabilmektedir (Chomsky ve Herman, 1979, s. 5). Adolf Hitler’in 1919 yılında, Almanya’da başlattığı nasyonal sosyalist hareket çoğu çevrece, İtalyan faşizminin bir uzantısı olarak görülmektedir. Hitler’in Almanya’daki iktidarının, ULUSLARARASI SOSYAL BİLİMLER DERGİSİ INTERNATIONAL JOURNAL OF SOCIAL SCIENCES Cilt / Vol.: 1 , Sayı / Is.: 1, Yıl / Year: 2018, Sayfa / Pages: 69-88 72 Mussolini’den tam 11 yıl sonra gerçekleşmesi, Nazizm’in faşizmin farklı bir versiyonu olduğu yorumunun doğmasına da neden olmuştur. Bunun altında yatan temel neden, Nazizm ve faşizmin çoğu öğretisinin birbirine çok benzer olmasıdır. Bu yüzden,
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