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Kültür Endüstrisine Bir Karşit Örnek Olarak Reha

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Kültür Endüstrisine Bir Karşit Örnek Olarak Reha KÜLTÜR ENDÜSTRİSİNE BİR KARŞIT ÖRNEK OLARAK REHA ERDEM SİNEMASI Elif Ak 161105203 YÜKSEK LİSANS TEZİ Radyo, Televizyon ve Sinema Anabilim Dalı Danışman: Dr. Öğr. Üyesi Gülçin Çakıcı Öztürk İstanbul T.C. Maltepe Üniversitesi Sosyal Bilimler Enstitüsü Aralık, 2018 KÜLTÜR ENDÜSTRİSİNE BİR KARŞIT ÖRNEK OLARAK REHA ERDEM SİNEMASI Elif Ak 161105203 YÜKSEK LİSANS TEZİ Radyo, Televizyon ve Sinema Anabilim Dalı Danışman: Dr. Öğr. Üyesi Gülçin Çakıcı Öztürk İstanbul T.C. Maltepe Üniversitesi Sosyal Bilimler Enstitüsü Aralık, 2018 JÜRİ VE ENSTİTÜ ONAYI ii Doküman No FR-178 İlk Yayın Tarihi 01.03.2018 ETİK İLKE VE KURALLARA Revizyon Tarihi UYUM BEYANI Revizyon No 00 Sayfa iii/110 Revizyon Takip Tablosu REVİZYON TARİH AÇIKLAMA NO 00 01.03.2018 İlk yayın. ETİK İLKE VE KURALLARA UYUM BEYANI 03/01/2019 Bu tezin bana ait, özgün bir çalışma olduğunu; çalışmamın hazırlık, veri toplama, analiz ve bilgilerin sunumu olmak üzere tüm aşamalarından bilimsel etik ilke ve kurallara uygun davrandığımı; bu çalışma kapsamında elde edilmeyen tüm veri ve bilgiler için kaynak gösterdiğimi ve bu kaynaklara kaynakçada yer verdiğimi; çalışmanın Maltepe Üniversitesinde kullanılan “bilimsel intihal tespit programı” ile tarandığını ve öngörülen standartları karşıladığını beyan ederim. Herhangi bir zamanda, çalışmamla ilgili yaptığım bu beyana aykırı bir durumun saptanması durumunda, ortaya çıkacak tüm ahlaki ve hukuki sonuçlara razı olduğumu bildiririm. Elif Ak (Dokuman No: FR-178; Yayın Tarihi: 01.03.2018; Revizyon Tarihi: ; Revizyon No:00) Hazırlayan Kalite Koordinatörü Kurumsal Yetkili İlgili Birim Dr. Öğr. Üyesi Şafak GÜNDÜZ Prof. Dr. Belma AKŞİT iii TEŞEKKÜR Tez çalışmam süresince bana destek olan ve tez konusunun belirlenmesinden tezin son haline gelinceye kadar bilgi ve tecrübesini, yol göstericiliğini ve hoşgörüsünü benden esirgemeyen sevgili tez danışmanım Dr. Öğr. Üyesi Gülçin ÇAKICI ÖZTÜRK’e sonsuz teşekkürlerimi sunarım. Bu süreçte bana fikirleri, bilgisi ve tecrübesiyle yardımcı olan değerli hocam Dr. Öğr. Üyesi Hakan AYTEKİN’e teşekkür ederim. Ayrıca bu zorlu ve yoğun süreçte manevi desteğini her zaman hissettiğim sevgili eşim Musa AK’a, her anlamda bana destek olan ve güvenen Anneme ve Babama, kardeşim Yasin ve eşi Binnur’a, sakinliği ile bana yardımcı olan biricik kızım Asya’ya çok teşekkür ederim. Elif AK Aralık 2018 iv ÖZ KÜLTÜR ENDÜSTRİSİNE BİR KARŞIT ÖRNEK OLARAK REHA ERDEM SİNEMASI Elif Ak Yüksek Lisans Radyo, Televizyon ve Sinema Ana Bilim Dalı Danışman: Dr. Öğr. Üyesi Gülçin Çakıcı Öztürk Maltepe Üniversitesi Sosyal Bilimler Enstitüsü, 2018 Sinema filmleri gösterildiği ilk günden günümüze kadar geçen sürede; sanat eseri, kitle iletişim aracı, eğlence aracı ve popüler kültür ürünü gibi özellikleriyle karşımıza çıkmaktadır. Sinemanın popüler kültür ürünü olduğunu düşünen T.W. Adorno ve Horkheimer 1947 yılında Kültür Endüstrisi kavramsallaştırması üzerinden sinemayı değerlendirmişlerdir. Klasik, popüler ve Hollywood tarzı diyebileceğimiz geleneksel anlatılı filmler sinemanın, ticari amaç taşıyan ve salt bir eğlence aracı olması özellikleriyle Kültür endüstrisi kavramına hizmet eden filmler olmuşlardır. Geleneksel anlatı biçiminin dışında olan Brecht Estetiği ile Brecht’in ünlü yabancılaştırma etkisi sinemaya alışılmış bakış açısının aksine olaylara, olgulara ve karakterlere izleyicinin eleştirel bir gözle bakmasını sağlar. Türkiye’de çağdaş anlatı kalıplarını ve Brecht Estetiğini referans alarak film üreten yönetmenlerin başında Reha Erdem gelmektedir. Yapılan çalışmada yönetmenin uzun metraj filmleri kronolojik olarak incelenmiştir. Betimsel analiz yöntemiyle incelenen yönetmenin filmlerinde, Brecht Estetiğindeki yabancılaştırma unsurları; karakterler, zaman - mekân ve müzik boyutuyla analiz edilmiş ve kültür endüstrisinin karşısında nasıl konumlandığı araştırılmıştır. Anahtar Sözcükler: Sinema, Kültür Endüstrisi, Brecht Estetiği, Yabancılaştırma, Çağdaş Anlatı Sineması. v ABSTRACT REHA ERDEM’S CINEMA AS A COUNTER EXAMPLE OF CULTURE INDUSTRY Elif Ak Graduate Program Department of Radio, Television and Cinema Supervisor: Asst. Prof. Dr. Gülçin Çakıcı Öztürk Maltepe University, Graduate School of Social Sciences Since they have been shown for the first time, cinema films draw attention with their such qualities as art, mass media, entertainment tool and popular culture products. T. W. Adorno and Horkheimer, who thought that cinema was a product of popular culture, evaluated cinema in 1947 through the conceptualization of the Culture Industry. Traditionally narrated films which we may name as classical, popular and Hollywood- style are the ones that serve the concept of the Culture industry with their characteristics of cinema as a mere entertainment tool and with a commercial purpose. With Brecht's Aesthetics, which is outside the traditional narrative form, Brecht's notorious alienation effect allows the viewer to look at events, phenomena and characters in a critical way in contrast to the usual viewpoint of cinema. Reha Erdem is the leading director in Turkey who makes films with reference to the contemporary narrative patterns and Brecht Aesthetics. In this study, the director's feature films were examined chronologically. In the films of the director examined by Descriptive Analysis Method, the elements of alienation in Brecht Aesthetics were analyzed by; the characters, time - space and music dimensions and it was searched how they are located against the Culture industry. Keywords: Cinema, Culture Industry, Brecht Aesthetics, Alienation, Contemporary Narrative Cinema vi İÇİNDEKİLER JÜRİ VE ENSTİTÜ ONAYI ............................................................................................ ii ETİK İLKE VE KURALLARA UYUM BEYANI ......................................................... iii TEŞEKKÜR ..................................................................................................................... iv ÖZ ..................................................................................................................................... v ABSTRACT ..................................................................................................................... vi İÇİNDEKİLER ............................................................................................................... vii ÖZGEÇMİŞ ..................................................................................................................... ix BÖLÜM 1. GİRİŞ ............................................................................................................. 1 1.1. Araştırmanın Problemi ............................................................................................... 3 1.3. Araştırmanın Önemi .................................................................................................. 4 1.4. Araştırmanın Varsayımları ........................................................................................ 4 1.5. Araştırmanın Sınırlılıkları .......................................................................................... 5 1.6. Araştırmanın Tanımları .............................................................................................. 5 1.7. Kültür Endüstrisi Kavramı ......................................................................................... 6 1.8. Kültür Endüstrisi ve Sinema ile İlişkisi ................................................................... 16 1.8.1. Hollywood Stüdyo Sistemi ................................................................................... 23 1.8.2. Hollywood Eğlence Endüstrisi ............................................................................. 28 BÖLÜM 2. YABANCILAŞMA KAVRAMI VE SİNEMAYA YANSIMALARI ....... 33 2.1. Genel Çerçevede Yabancılaşma Olgusu .................................................................. 33 2.2. Brecht Estetiği ve Yabancılaşma ........................................................................... 36 2.3. Kültür Endüstrisi’ne Karşı Duruş Olarak Yabancılaşma ......................................... 41 2.3.1 Çağdaş Anlatı Sineması ......................................................................................... 41 2.3.2. Türk Çağdaş Anlatı Sinemasında Yabancılaşma .................................................. 45 BÖLÜM 3. YÖNTEM .................................................................................................... 49 3.1. Araştırmanın Modeli ................................................................................................ 49 3.2. Araştırmanın Evren ve Örneklemi ........................................................................... 50 3.3. Verilerin Toplanması ............................................................................................... 50 3.4. Verilerin Çözümlenmesi ve Yorumlanması ............................................................ 51 3.4.1. Reha Erdem Sineması’nın Betimsel Yönden Analizi ........................................... 51 3.4.2. A Ay (1989) .......................................................................................................... 51 3.4.2.1. Yabancılaştırıcı Etkiyi Yaratan Öğe Olarak Karakterler ................................... 51 vii 3.4.2.2.Yabancılaştırıcı Etkiyi Yaratan Öğe Olarak Zaman ve Mekân .......................... 53 3.4.2.3. Yabancılaştırıcı Etkiyi Yaratan Öğe Olarak Müzik ........................................... 57 3.4.3. Korkuyorum Anne (2004) .................................................................................... 58 3.4.3.1.Yabancılaştırıcı Etkiyi Yaratan Öğe Olarak Karakterler
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