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Alışıldık Tanımlamaların Gölgesinde İslami İnancın Batı Sineması'nda Yeniden Sunumu: Taken 2. (Turkish)
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- Author(s): SEVİMLİ, Mehmet Ali; KASIM, Metin
- Source:
Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim; Dec2019, Issue 32, p340-357, 18p- Subject Terms:
- Source:
- Additional Information
- Alternate Title: Re-presentation of Islamic Faith in Western Cinema in the Shadow of Common Definitions: Taken 2. (English)
- Subject Terms:
- Abstract: It is known that many images belonging to Muslims, Islam, and Turks have been used in many branches of fine arts during the Westernization period of Turkey. The images in question, which are represented in cinema, could be produced in both 'iconic sign' and 'discursive' ways. In this study, it is examined how the Western originated films, shot in Turkey, have created and reflected these images in the case of 'Taken 2 (2012)', co-produced by The United States and France. The elements of the Turkish-Islamic perception in the film were examined by determining semiotic analysis based on Saussure's semiotics model. This study, specifying 'Taken 2' as the research sample, also discussed the other films, produced in Turkey, including the images of the Turkish-Islamic perception in Hollywood and European cinema. This study aims to determine the Turkish-Islamic perception and its presentation in these films through images and signs. Furthermore, the study importantly attempts to evaluate cinema not only as an entertaining, industrial mass medium but also as "an ideological tool". As a result of the analysis of the representations, determined in the films over film frames, it is seen that images representing the Turkish-Islamic perception are generally used in such a way that leads to negative sensations. In the examined film 'Taken 2', Turkey and İstanbul, like in the other underdeveloped Islamic countries in the Middle East -the Turkish people especially, just like Iranians in the way they dress-were presented as a tribal state in which unlawful forces and acts were carried out for social order and justice. [ABSTRACT FROM AUTHOR]
- Abstract: Türkiye'nin Batılılaşma süreci boyunca güzel sanatların birçok dalında İslamiyet'e, Türklere ve Müslümanlara dair birçok imgenin kullanıldığı bilinmektedir. Sinemada temsil edilen söz konusu imgeler, hem 'görüntüsel göstergeler' hem de 'söylemsel' açıdan üretilebilmektedir. Bu çalışmada, Türkiye'de çekilmiş olan yurtdışı menşeli filmlerin bu imgeleri nasıl oluşturduğu ve yansıttığı Abd-Fransa ortak yapımı Taken 2 (2012) filmi özelinde incelenmiştir. Filmde yer alan Türk-İslâm algısına yönelik unsurlar gösterge-bilimsel analiz metodu aracılığıyla tespit edilerek Saussure'ün gösterge modeli temel alınarak irdelenmiştir. Taken 2 filminin örneklem olarak belirlendiği bu çalışmada, Hollywood ve Avrupa sinemasında Türkiye'de üretilen ve Türk-İslâm algısına yönelik imgeler içeren diğer filmlere de değinilmiştir. Çalışmanın temel amacı, söz konusu filmlerdeki Türk-İslâm algısını ve temsilini göstergeler ve imgeler üzerinden tespit etmektir. Ayrıca sinemanın bir eğlence, endüstri, kitle iletişim aracı olmasının yanında, "ideolojik bir araç" olarak değerlendirilmesini sağlamak, çalışma açısından önem taşımaktadır. Filmlerde belirlenen temsillerin film kareleri üzerinden analiz edilmesi sonucunda, bu filmlerde Türk-İslâm algısını temsil eden imgelerin genellikle olumsuz algılamalara yol açacak şekilde kullanıldığı görülmüştür. İncelenen Taken 2 filminde Türkiye ve İstanbul Ortadoğu'nun geri kalmış İslam ülkeleri gibi, Türk halkı ise özellikle giyim kuşam açısından İranlılar gibi, sosyal düzen ve adalet açısından ise kanunsuz işlerin yapıldığı ve yasadışı güçlerin hakim olduğu bir kabile devleti olarak sunulmuştur. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Journal of Akdeniz University Faculty of Communication / Akdeniz Iletişim is the property of Akdeniz University, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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