Görüntüleme
32
İndirme
10
Toplumların yaşadığı önemli dönüşüm anlarında, kültürün ürettiği nesneler ve kodlarla ilişkisi yeniden şekillenir. Bu durum iktidarın yeniden şekillenmesi, müzakere, direnç ve oluşan yeni kamuoyu ile ilgilidir. Bu bağlamda popüler kültür ürünleri ve yaşadıkları dönüşüm bir toplumun yaşadığı dönüşümlere yönelik önemli veriler sağlamaktadır. Popüler kültür ürünlerini salt bir yabancılaşma ürünü olarak ele almak, toplumun bu nesneler ve kodlarla kurduğu ilişkiyi gözden kaçırma riskini taşır. Türkiye toplumunun, Tanzimat’tan beri yaşadığı kapitalistleşme süreci boyunca ürettiği kodlarda bir süreklilik ve dönemsel kopuşlar söz konusudur. Bunların en başında arzu ve gelenek arasında var olan gerilim ve buna dayalı motifler gelmektedir. Baba, oğul, ev ve kadın bu diyalektiğin kendini ifade ettiği araçları oluşturmaktadır. Tanzimat ile beliren bu kodların 1950 sonrası popüler anlatı filmlerinde varlığını sürekli koruduğu ancak arzunun inkar edilerek geleneğin yüceltildiği bir söylemin varlığını koruduğu görülmektedir. 1980 sonrası süreçte ise arzunun inkar edilmek yerine açıkça ifade edildiği, hasetli ve hırslı bir öznenin yükseldiği görülmektedir. Bu özneyi belirleyen en önemli özellik ise arzusunun maddi sermayeden çok, üst sınıfları tanımlayan sembolik sermayeye yönelik olduğudur. Bu gelişme orta sınıflar içinde bir kopuşu ve yeniden yapılanışı işaret etmektedir. Bütün bu dönüşümlere rağmen, kadın konusunun Tanzimat’tan beri çözülemediği ve orta sınıf erkekliğinin bunalım ve arzuları ne kadar değişiyor olsa da kadın konusunda yeni bir müzakere ve dengenin üretilemediği görülmektedir.
In the moments of significant transformation in which societies are experiencing, the relationship with the objects and codes produced by the culture is re-formed. This situation relates to the re-formation of power, negotiations, resistance and the new public that forms. In this context, popular cultural products and their transformation provide important data on the transformations a society is experiencing. Treating popular cultural products as simply a product of alienation risks missing the relationship that society establishes with these objects and codes. In the codes that the Turkish society has produced throughout the capitalization process in which it has lived since Tanzimat, there is a continuity and periodic gap. There are tensions between desire and tradition and the motives that are based on it. The father, the son, the house, and the wife are the tools that this dialect expresses itself. It appears that these codes appear with Tanzimat continuously preserved their existence in the popular narrative films after 1950, but the desire was denied and preserved the existence of a narrative in which the tradition was praised. In the process after 1980, it appears that an ambitious and ambitious essence is rising, where the desire is clearly expressed instead of being denied. The important feature that determines this essence is that its desire is more than material capital, that it is aimed at the symbolic capital that defines the upper classes. This development indicates a breakdown and reconstruction within the middle classes. Despite all these transformations, it appears that the issue of women has not been solved since Tanzimat and that, despite the depression and desires of the middle class malehood, a new negotiation and balance on women cannot be produced.
In important moments of transformation experienced by societies, the relationship of culture with the produced symbolic objects and codes is reformed. This situation is related to the reconstruction of power, negotiation, resistance and new public opinion. For this reason, popular culture products and their transformation provides important data for the transformations of a society. Considering the products of popular culture as only as a product of alienation, contains risks the overlook of society's relationship to these objects and codes. Codes generated by society during the process of capitalization since the Tanzimat Era, includes continuities and periodic splits. The texts produced by the melodrama language, which is shaped by the tension existing between desire and tradition, come first among the areas where these codes are reflected in the culture. The melodrama tradition, where class desires and conflicts are mediated by an individual life and especially romantic love, shaped both post-Tanzimat Literature and popular cinema texts after 1950. This study tries to address the ideological ground on which the reconciliation created by the melodrama tradition is located within a historical context. The melodrama shaped by anxiety about social competition, desire and the wear of tradition is therefore considered as a popular field of struggle for hegemony and resistance. Socio-economic transformation after 1990 caused a radical transform in melodrama language in relation with the changes in daily life and ideology. The narratives based on black-melodrama, which combines the emptiness of the symbolic order with the gender crisis, is the most obvious manifestation of this break. This study states that the Recep İvedik film series constitutes a third tradition especially emphasizes and creates a radical transformation in the ideological position of romantic love and produces a discourse that reveals the social distinctions that melodrama tries to close so which can be called anti-melodrama. In this context, the study includes a sociological reading by making use of the Object-Relations Theory, Lacan psychoanalysis and Pierre Bourdieu's concept of cultural capital.
Alan : Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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