Türkiye'de ulusal sinema ve ulusal sinema söylemi
Özet
This thesis is examining the importance of the "national cinema" in cinema history and the cultural heritage of Turkey, as a notion which is discussed in the Turkish Cinema from mid-sixties. The notion is described in the context of the project of making the "nation". In Chapter I, the notions "nation" and "national cinema" are contextualized. The importance of the "nation" in modernity, different kind of nationalisms and the "national culture" which is the sphere where the "nation" and "cinema" get in touch are the issues discussed in the first part of the this chapter. "National culture" plays an important role in understanding the "national cinema discourse" by connecting debates about the "nation" to the debates about "national cinema". The second part of the Chapter I is about the "national cinema". The history of the introduction of the notion "national cinema" to film studies is summarized around the transformation of the paradigms of criticism. The fundamental approaches to "national cinema" are evaluated in this context. Being a discursive construction and naming, "national cinema" is contextualized in relation with the very specific case of European Art Cinema which sprung in resistance to Hollywood. The shift of "national cinema" from Europe to "Third World Cinema"s is the topic of last part of this chapter. Chapter II of the thesis is on the "national cinema" debates in Turkey from mid-sixties. Around these debates two discourses are examined: One discourse belonged to directors who believed in a specific kind of "national cinema" and the other belonged to critics who used to write in the journal "New Cinema". In this 253study, each discourse is seen as a positioning. Thus, these discourses are analysed to explain the struggle that occured in the context of "modernization" and "modernity" in Turkey. These two discourses which negate each other are simultaneously constructed in different discursive formations and as well have constructed these discursive structures, but at the same time, they are the creations and reflections of the negotiation process of these discourses. The negotiation process depends on the modern vs. traditional tension in Turkish cultural life. "New Cinema" critics' discourses which are framed in the Modernization and Westernization context is connected with the "ideal images of their job". The originality which they attributed to the "Modern Turkish Cinema" that they longed to establish, is also present in the approaches of those directors who believed "national cinema". On the other hand, although the filmmakers who advocated the opposing "national cinema" approach were involved in anti-Western and anti-modern discourse, those directors could not get rid of the "modernist" discourse because of the insistence on "inventing Tradition" and creating "an original cinema language". In Chapter EL, four samples of "national cinema", / Fell in Love with a Turk, Four Women in a Harem, Time to Love and The Well is analysed. The analysis is based on the concepts of "the relativization of the Other" and "the invention of Tradition" which are the basic characteristics of "national culture".