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Selçuk Üniversitesi / Sosyal Bilimler Enstitüsü / Radyo Televizyon ve Sinema Anabilim Dalı / Radyo-Televizyon ve Sinema Bilim Dalı

Sinema ve oryantalizm: 2000 sonrası ulusötesi sinemada Türk kadın kimliğinin temsili

Cinema and orientalism: Representation of Turkish women's identity in transnational cinema after 2000

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Özet:

Oryantalizm bir bilim dalı olarak kabul edilmesinden bu güne kadar, çeşitli alanlarda etkinliğini sürdürmüştür Sinema da oryantalizmin ideolojik olarak işleyişini sürdürdüğü bir alandır Oryantalist ideolojide ötekileştirilen diğerlerinin her zaman olumsuz özelliklere sahip olması tesadüfi değil, ideolojiktir Sinemada da ötekileştirilen toplumların ve üyelerinin temsil ediliş tarzlarının oryantalist ideoloji tarafından yani Batı tarafından belirlendiği görülmektedir Said'in de belirttiği gibi Batı, Doğu'yu ötekileştirerek kendi benliğini var edebilmektedir Bu denklemin terazisinde bilgi-iktidar yatmaktadır Bu noktada Foucault'nun bilgi-iktidar nosyonunun oryantalizme eklenmesinin ve oryantalizmin pratiğe dönüşmesinin katkısı yadsınamaz Bilen tarafın iktidar kurduğu ve özne konumuna geldiği, böylelikle bilmeyen tarafın ötekileştirildiği ve nesne konumuna mecbur bırakıldığı görülmektedir ...

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Summary:

Since the acceptance of Orientalism as a branch of science, Orientalism has continued its activities in various fields Cinema is also an area where the field of Orientalism which the study finds From the existence of cinema to the present day, popular cinema is the continuation of the existing ideology Cinema and orientalism express an intertwined field Feminism, which opposes the imposition of popular culture and proposes a solution, takes place under the name of feminist cinema in cinema While feminist criticisms criticize the othering and objectification of women; orientalism criticizes cultures and geographies at the macro level Feminist film and orientalism is also fully compatible point where a society or community members oppose the point where it piece by piece by transforming marginalized It is not accidental but ideological that others who have been marginalized in Orientalist ideology always have negative characteristics It is seen that in the cinema that the representation style of otherized societies and the members of these societies are determined by the orientalist ideology, namely by the West Differences in the representation methods tried to be explained in the East - West dichotomy are remarkable Whether the Western representations of the East is indeed Eastern, and the ability to distinguish textual / fictional details between the representation of the true East and the East and the representation of the East that the West calls, is about how much orientalist thought prevails An analysis of orientalist representations in cinema was made by adding the perspective of Edward Said, the leading name of orientalism to the study In this study, it was argued that Said was exploited and misrepresented about the East, and that the Eastern notion of the West did not actually exist Women are otherized to the secondary position of men; Easterners were otherized and brought to the secondary position of the West The West can create its own self by otherizing the East It is useful to use Hegel's slave-master dialectics at this stage The slave must be a slave according to the dialectic so that the master can exist To put it further, the master's ability to come to the subject position is ensured by enslaving another self into the object position Knowledge-power lies in the balance of this equation The contribution of Foucault's notion of knowledge-power to orientalism and the conversion of orientalism into practice is undeniable It is seen that the knowing side established power and brought itself to the position of subject, thus the other side of the non-knowing side and being forced to the object position In popular cinema, which is the subject of feminist film criticism, men represent everything while women representation who do not know anyting ...

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