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Sinema ve toplum, birbirinden bağımsız olmayan hatta etkileşimli bir yapıya sahiptir. Bu etkileşimli yapı, toplumsal değişim ve dönüşümlerin de sinemada kendisini var etmesine olanak sağlar. Kendini toplumla var eden sinema, ulusal unsurlardan da etkilenir. Türk sinema tarihinde “ulusal sinema” hareketinin öncüsü olan Halit Refiğ, Türk sinemasının kendi sinema anlayışını geliştirmesi gerektiğini savunan önemli bir yönetmendir. Refiğ, “ulusal sinema” hareketinin kuramsal alt yapısını oluştururken, filmlerini de bu düşünceleri doğrultusunda hem içerik hem de biçim olarak tanımlar. Halit Refiğ, filmlerinde Doğu-Batı ikilemi bağlamında kendi sinemasında ulusal değerleri ön plana çıkararak, Türk toplumuna özgü bir sinema dili yaratma çabasını gösterir. Bu çalışmada incelenen Bir Türk’e Gönül Verdim, Fatma Bacı ve Vurun Kahpeye filmlerinden hareketle Doğu- Batı ikileminin Refiğ’ in sinemasında nasıl ele alındığı araştırılmıştır. Bu çalışmada Refiğ ’in sinema eğiliminin filmlerinde nasıl aksettirildiği, Teun A. van Dijk’ ın eleştirel söylem çözümlemesinden yola çıkılarak, sinemaya uyarlanan bir şema ile incelenmiştir. Bu çalışmada Halit Refiğ’ in Doğu- Batı ikilemini incelenen üç filmde açık ve net bir şekilde ortaya koyduğu tespit edilmiştir.
Cinema and society are dependent on each other and even have an interactive structure. This interactive structure allows social changes and transformations to take place in cinema as well. Cinema, which is affected by society, is also influenced by national elements. Halit Refiğ, the pioneer of the "National Cinema" movement in the history of Turkish cinema, is an important director who argues that Turkish cinema should develop its own interpretation of the cinema. While Refiğ creates the theoretical background of the "National Cinema" movement, he defines his films as both content and form related to these ideas. In his films, he strives to create a unique form of cinema suits the Turkish society by focusing on the national values in his own cinema in the context of the East-West dilemma. This study investigates how the East-West dilemma was dealt with in the cinema of Refiğ, based on the films A Turk's Heart, Fatma Bacı and Shurun Kahpeye. This article investigates how Refiğ's films reflect his cinema tendency and that was analyzed according to a schema that adapted to the cinema and based on Teun A van Dijk's critical discourse analysis. As a result of this study, it is clearly determined that Halit Refiğ reveals the East-West dilemma in the researched three films.
Cinema and society are dependent of each other and even have an interactive structure. This interactive structure allows social changes and transformations to take place in cinema as well. Cinema, which is affected by society, is also influenced by national elements. Halit Refiğ, the pioneer of the “National Cinema” movement in the history of Turkish cinema, is an important director who argues that Turkish cinema should develop its own interpretation of the cinema. While Refiğ creates the theoretical background of the “National Cinema” movement, he defines his films as both content and form related to these ideas. In his films, he strives to create a unique form of cinema fits the Turkish society by focusing on the national values in his own cinema in the context of the East- West dilemma. This study investigates how the East-West dilemma was dealt with in the cinema of Refiğ, based on the films Bir Türk’e Gönül Verdim , Fatma Bacı and Vurun Kahpeye . This article investigates how Refiğ’s films reflect his cinema tendency and that was analyzed according to a schema that adapted to the cinema and based on Teun A van Dijk’s critical discourse analysis. As a result of this study, it is clearly determined that Halit Refiğ reveals the East-West dilemma in the researched three films.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Ulusal
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