İslamofobi kavramı, dinsel çağrışımlar uyandırmasına karşın tarihsel ve ideolojik boyutlara da sahiptir. İlk Hıristiyanlık-İslam karşılaşmasından itibaren bir kutuplaşma mevcuttur. Doğu/İslam Dünyası’nın tahayyülünde Oryantalizm kritik derecede önemlidir. ABD Sineması da yıllarca Doğu/İslam’ı Oryantalist bir biçimde imgeleştirir. Ancak 20. Yüzyılda yaşananlar neticesinde Oryantalizmden İslamofobiye geçilmektedir. Özellikle 11 Eylül’den beri İslam, artık yeni ötekidir. Hollywood, bu noktada ideolojik bir aygıt görevi görür. Bu dönemle beraber Hollywood ürünlerine İslami terörizm gibi İslamofobik unsurlar eklenmekte, böylece İslamofobi yeniden üretilmektedir. Bu bağlamda çalışmada 11 Eylül sonrası Hollywood Sinemasındaki İslamofobiye odaklanılacak, seçilen üç film görsel-işitsel kodlar/anlatı kodları bağlamında yapısal çözümlemeyle irdelenecektir. Çalışmada 11 Eylül sonrası İslam’ın ilk kez düşman olarak gösterilmesi sebebiyle Kara Şahin Düştü (Scott, 2001) filmi, bütün Müslümanların birer terörist olabileceği fikrini uyandırması sebebiyle Ölümcül Tuzak (Bigelow, 2008) filmi, iyi Müslümanların yok denilebilecek kadar az olduğu algısı yarattığı için Son Kalan (Berg, 2013) filmi incelenmektedir.
The concept of Islamophobia has historical and ideological dimensions, despite the awakening of religious calls. A polarization has existed since the first Christian-Islam encounter. The orientalism is critically important in the world of the East/Islam. The American cinema has also imagined the East/Islam in an Orientalist way for years. Only 20. As a result of the century, it passes from Orientalism to Islamophobia. Islam, especially since September 11th, is now a new other. Hollywood, at this point, sees the role of an ideological instrument. With this period, Islamophobic elements like Islamic terrorism are added to Hollywood products, so Islamophobia is produced again. In this context, the study will focus on Islamophobia in the Hollywood Cinema after 11 September, and the three selected films will be focused on structural resolution in the context of visual-hearing codes/historic codes. In the study, the first time Islam was shown as an enemy after 11 September, the Black Shahin Falls (Scott, 2001) film, the Deadly Hole (Bigelow, 2008) film, because it awakened the idea that all Muslims could be a terrorist, the last remainder (Berg, 2013) film, because it created the perception that good Muslims are not enough to be called destroyed.
Although the Islamophobia concept evokes religious connotations, it also has historical and ideological dimensions. There’s a polarization since the first Christianity-Islamic encounter. Orientalism is critically essential in the imagination of the Eastern/Islamic World. US Cinema, for years, symbolizes East/Islam in an Orientalist way. However, as a result of what happened in the 20th century, it’s passed from Orientalism to Islamophobia. Especially since 9/11, Islam is new other. Herein, Hollywood acts as an ideological device. With this period, Islamophobic elements such as Islamic terrorism are added to Hollywood products; thus, Islamophobia is reproduced. In this context, the study will focus on Islamophobia in Hollywood Cinema after 9/11, and three selected films will be analyzed with structural analysis in the context of visual-auditory codes-/narrative codes. In the study, the film Black Hawk Down (Scott, 2001) is examined because Islam is shown as an enemy for the first time after 9/11. The movie The Hurt Locker (Bigelow, 2008) has been selected because it incites the idea that all Muslims may be terrorists. The film Lone Survivor (Berg, 2013) is analyzed for creating the perception that there are almost no good Muslims.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Ulusal
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