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Kameraların Ardındaki Doğu: Belgesel Filmlerde Oryantalist Stereotipler

Year 2023, Volume: 2 Issue: 2, 176 - 193, 13.11.2023
https://doi.org/10.58239/tamde.2023.04.002.x

Abstract

Belgesel filmler, hem estetik unsurları barındırması sebebiyle bir sanat eseri hem geniş kitlelere bilgi aktarabilmesi sebebiyle kitle iletişim aracı hem de içerdiği bilgilerin çoğu zaman bilimsel verilere dayanması sebebiyle de belge niteliği taşıyan film türüdür. Belgesel film yapımcıları ve yönetmenler, belgesel filmin bu güçlü etkilerinden yararlanarak toplumsal olayları kitlelere aktarmayı amaçlamaktadırlar. Bu amaç belli bir bakış açısını da beraberinde getirmektedir. Yönetmen ve yapımcılar izleyicilere çeşitli kültürleri tanıtmak veya toplumsal olaylara dikkat çekmek amacıyla yola çıktıklarında, bazen bilinçli ya da bilinçsiz bir şekilde belirli önyargıları ve stereotipleri kullanmaktadırlar. Bu durum Doğu toplumlarının konu edinildiği filmlerde de karşımıza çıkmakta ve temsil edilen Doğu topluluklarına dair genellemeleri ve basitleştirmeleri beraberinde getirmektedir. Zamanla belli bir kalıba dönüşen bu genellemeler belgesel film anlatılarında kullanılırken Doğu’nun kültürel ve düşünsel her türlü zenginliğinin geri planda kaldığı görülmektedir. Bu araştırma çeşitli kaynaklardan hareket ederek belgesel filmler ve oryantalist stereotiplerin ilişkisini ortaya koymak üzere derlenmiştir.

References

  • Abel, R. (Ed.). (2005). Encyclopedia of Early Cinema. Routledge.
  • Abu-Lughod, L. (2002). Do Muslim Women Really Need Saving? Anthropological Reflections on Cultural Relativism and Its Others. American Anthropologist, 104(3), 783-790. https://www.jstor.org/stable/3567256
  • Adadağ, Ö. (2014). Sömürgeleri Tanıyın, Tanıtın, Medenileştirin: Belgesel Filmlerde Sömürgecilik. Sinecine: Sinema Araştırmaları Dergisi, 5(2), 9-33. https://doi.org/10.32001/sinecine.540753
  • Alam, M. S. (2007). Challenging the New Orientalism: Dissenting Essays on the “War Against Islam”. Islamic Publications International.
  • Appiah, A. (1993). In My Father’s House: Africa in the Philosophy of Culture. Oxford University Press.
  • Ateş, H., & Parsa, A. F. (2021). The Construction of Orientalist Discourse in the Documentary Series on the Digital Broadcasting Platform Netflix: İçinde I. Tombul & G. Sarı (Ed.), Advances in Media, Entertainment, and the Arts (ss. 12-32). IGI Global. https://doi.org/10.4018/978-1-7998-7180-4.ch002
  • Bauman, Z. (2013). Postmodernizm ve Hoşnutsuzlukları. (İ. Türkmen, Çev.), Ayrıntı Yayınları.
  • Bettetini, G. (1978). Cinema e tempo. Vita e pensiero.
  • Boer, I. E. (1996). Despotism from under the Veil: Masculine and Feminine Readings of the Despot and the Harem. Cultural Critique, 32, 43-73. https://doi.org/10.2307/1354530
  • Bullock, K. (2018). Orientalism on Television: A Case Study of I Dream of Jeannie. ReOrient, 4(1), 4-23. https://doi.org/10.13169/reorient.4.1.0004
  • Dajani, N. Z. J. (2000). Arabs in Hollywood: Orientalism in Film [Unpublished Master's Thesis]. University of British Columbia. https://doi.org/10.14288/1.0099552
  • Ganjaei, S. (2010). Representations of Iran in British Documentary, 1920s – 2006 [Unpublished Doctoral Dissertation]. University of East Anglia, School of Film and Television Studies. https://ueaeprints.uea.ac.uk/id/eprint/47573/
  • Gülşen, E. (2011). Hakikatin Sineması. Külliyat Yayınları.
  • Haldrup, M., Koefoed, L., & Simonsen, K. (2006). Practical Orientalism: Bodies, Everyday Life and the Construction of Otherness. Geografiska Annaler. Series B, Human Geography, 88(2), 173-184. https://www.jstor.org/stable/3878386
  • Hunt, S. (2009). Can The West Read? Western Readers, Orientalist Stereotypes, and the Sensational Response to The Kite Runner. OxyScholar. https://api.core.ac.uk/oai/oai:scholar.oxy.edu:ecls_student-1009
  • İmançer, D. (2007). Medeniyetler çatışması ve Hollywood. Doğu Batı Dergisi 10 (41), 193- 206.
  • Kian-Thiébaut, A. (2010). Islamic Feminism in Iran: A New Form of Subjugation or the Emergence of Agency? (E. Rundell, Çev.). Critique internationale, n° 46(1), 45-66. https://doi.org/10.3917/crii.046.0045
  • Le Roy, E. (2001). Le Fonds Cinématographique Colonial Aux Archives Du Filmet Du Dépôt Légal Du CNC (France). Journal of Film Preservation, 63, 55-59.
  • Levine, A. J. M. (2010). Framing the nation: documentary film in interwar France. Bloomsbury Publishing USA.
  • Little, D. (2008). American orientalism: the United States and the Middle East since 1945. Raleigh: UNC Press Books.
  • Liu X. (2010). Collaborative Orientalism from Hollywood’s Yellow Perils to Zhang Yimou’s Red Trilogy  [Unpublished Master's Thesis].  Graduate College of Bowling Green State University.
  • Mardin, Ş. (2002). Yeni Osmanlı Düşüncesinin Doğuşu, (M. Türköne, F. Unan, İ. Erdoğan, Çev.) İletişim Yayınları.
  • Memmi, A. (2003). The Colonizer and the Colonized (3rd ed.). Earthscan Press.
  • Nerval. G. De (2004). Doğu'da Seyahat, (S. Hilav, Çev.). Yapı Kredi Yayınları.
  • Orkibi, E. (2015). Judea And Samaria in Israeli Documentary Cinema: Displacement, Oriental Space and the Cultural Construction of Colonized Landscapes. Israel Affairs, 21(3), 408-421. https://doi.org/10.1080/13537121.2015.1036561
  • Prince, S. (1993). The Discourse of Pictures: Iconicity and Film Studies. Film Quarterly, 47(1), 16-28. https://doi.org/10.2307/1213106
  • Pryluck, C. (2005). Ultimately We Are All Outsiders: The Ethics Of Documentary Filming. New Challenges for Documentary, 194-208.
  • Renov, M. (1993). Introduction: The Truth About Non-Fiction. in Theorizing Documentary. Routledge.
  • Rodinson, M. (1983). Wiebke WALTHER," Femmes en Islam"(Book Review). Cahiers Internationaux de Sociologie, 75, 370.
  • Said, E. (2017). Şarkiyatçılık, Batı’nın Şark Anlayışları. Metis Yayınları.
  • Ziauddin, S. (1999). Orientalism. McGraw-Hill Education (UK).
  • Scognamillo, G. (1996). Batı Sinemasında Türkiye ve Türkler. İnkılap.
  • Shaheen, J. G. (2000). Hollywood’s Muslim Arabs. The Muslim World, 90(1-2), 22-42. https://doi.org/10.1111/j.1478-1913.2000.tb03680.x
  • Valantin, J. M. (2005). Hollywood, The Pentagon and Washington. Anthem Press.
  • Ventura, L. (2017). The “Arab Spring” and Orientalist Stereotypes: The Role of Orientalism in The Narration of the Revolts in The Arab World. Interventions, 19(2), 282-297. https://doi.org/10.1080/1369801X.2016.1231587

The East Behind the Cameras: Orientalist Stereotypes in Documentary Films

Year 2023, Volume: 2 Issue: 2, 176 - 193, 13.11.2023
https://doi.org/10.58239/tamde.2023.04.002.x

Abstract

Documentary films are both a work of art because they contain aesthetic elements, a mass communication tool because they can convey information to large audiences, and a documentary film genre because the information they contain is often based on scientific data. Documentary filmmakers and directors aim to convey social events to the masses by utilizing these powerful effects of documentary film. This aim brings along a certain point of view. When directors and producers set out to introduce audiences to various cultures or draw attention to social events, they sometimes consciously or unconsciously use certain prejudices and stereotypes. This is also the case in films that focus on Eastern societies, leading to generalizations and simplifications about the Eastern communities represented. While these generalizations, which turn into a certain pattern over time, are used in documentary film narratives, it is seen that all kinds of cultural and intellectual richness of the East remain in the background. This research has been compiled to reveal the relationship between documentary films and orientalist stereotypes based on various sources.

References

  • Abel, R. (Ed.). (2005). Encyclopedia of Early Cinema. Routledge.
  • Abu-Lughod, L. (2002). Do Muslim Women Really Need Saving? Anthropological Reflections on Cultural Relativism and Its Others. American Anthropologist, 104(3), 783-790. https://www.jstor.org/stable/3567256
  • Adadağ, Ö. (2014). Sömürgeleri Tanıyın, Tanıtın, Medenileştirin: Belgesel Filmlerde Sömürgecilik. Sinecine: Sinema Araştırmaları Dergisi, 5(2), 9-33. https://doi.org/10.32001/sinecine.540753
  • Alam, M. S. (2007). Challenging the New Orientalism: Dissenting Essays on the “War Against Islam”. Islamic Publications International.
  • Appiah, A. (1993). In My Father’s House: Africa in the Philosophy of Culture. Oxford University Press.
  • Ateş, H., & Parsa, A. F. (2021). The Construction of Orientalist Discourse in the Documentary Series on the Digital Broadcasting Platform Netflix: İçinde I. Tombul & G. Sarı (Ed.), Advances in Media, Entertainment, and the Arts (ss. 12-32). IGI Global. https://doi.org/10.4018/978-1-7998-7180-4.ch002
  • Bauman, Z. (2013). Postmodernizm ve Hoşnutsuzlukları. (İ. Türkmen, Çev.), Ayrıntı Yayınları.
  • Bettetini, G. (1978). Cinema e tempo. Vita e pensiero.
  • Boer, I. E. (1996). Despotism from under the Veil: Masculine and Feminine Readings of the Despot and the Harem. Cultural Critique, 32, 43-73. https://doi.org/10.2307/1354530
  • Bullock, K. (2018). Orientalism on Television: A Case Study of I Dream of Jeannie. ReOrient, 4(1), 4-23. https://doi.org/10.13169/reorient.4.1.0004
  • Dajani, N. Z. J. (2000). Arabs in Hollywood: Orientalism in Film [Unpublished Master's Thesis]. University of British Columbia. https://doi.org/10.14288/1.0099552
  • Ganjaei, S. (2010). Representations of Iran in British Documentary, 1920s – 2006 [Unpublished Doctoral Dissertation]. University of East Anglia, School of Film and Television Studies. https://ueaeprints.uea.ac.uk/id/eprint/47573/
  • Gülşen, E. (2011). Hakikatin Sineması. Külliyat Yayınları.
  • Haldrup, M., Koefoed, L., & Simonsen, K. (2006). Practical Orientalism: Bodies, Everyday Life and the Construction of Otherness. Geografiska Annaler. Series B, Human Geography, 88(2), 173-184. https://www.jstor.org/stable/3878386
  • Hunt, S. (2009). Can The West Read? Western Readers, Orientalist Stereotypes, and the Sensational Response to The Kite Runner. OxyScholar. https://api.core.ac.uk/oai/oai:scholar.oxy.edu:ecls_student-1009
  • İmançer, D. (2007). Medeniyetler çatışması ve Hollywood. Doğu Batı Dergisi 10 (41), 193- 206.
  • Kian-Thiébaut, A. (2010). Islamic Feminism in Iran: A New Form of Subjugation or the Emergence of Agency? (E. Rundell, Çev.). Critique internationale, n° 46(1), 45-66. https://doi.org/10.3917/crii.046.0045
  • Le Roy, E. (2001). Le Fonds Cinématographique Colonial Aux Archives Du Filmet Du Dépôt Légal Du CNC (France). Journal of Film Preservation, 63, 55-59.
  • Levine, A. J. M. (2010). Framing the nation: documentary film in interwar France. Bloomsbury Publishing USA.
  • Little, D. (2008). American orientalism: the United States and the Middle East since 1945. Raleigh: UNC Press Books.
  • Liu X. (2010). Collaborative Orientalism from Hollywood’s Yellow Perils to Zhang Yimou’s Red Trilogy  [Unpublished Master's Thesis].  Graduate College of Bowling Green State University.
  • Mardin, Ş. (2002). Yeni Osmanlı Düşüncesinin Doğuşu, (M. Türköne, F. Unan, İ. Erdoğan, Çev.) İletişim Yayınları.
  • Memmi, A. (2003). The Colonizer and the Colonized (3rd ed.). Earthscan Press.
  • Nerval. G. De (2004). Doğu'da Seyahat, (S. Hilav, Çev.). Yapı Kredi Yayınları.
  • Orkibi, E. (2015). Judea And Samaria in Israeli Documentary Cinema: Displacement, Oriental Space and the Cultural Construction of Colonized Landscapes. Israel Affairs, 21(3), 408-421. https://doi.org/10.1080/13537121.2015.1036561
  • Prince, S. (1993). The Discourse of Pictures: Iconicity and Film Studies. Film Quarterly, 47(1), 16-28. https://doi.org/10.2307/1213106
  • Pryluck, C. (2005). Ultimately We Are All Outsiders: The Ethics Of Documentary Filming. New Challenges for Documentary, 194-208.
  • Renov, M. (1993). Introduction: The Truth About Non-Fiction. in Theorizing Documentary. Routledge.
  • Rodinson, M. (1983). Wiebke WALTHER," Femmes en Islam"(Book Review). Cahiers Internationaux de Sociologie, 75, 370.
  • Said, E. (2017). Şarkiyatçılık, Batı’nın Şark Anlayışları. Metis Yayınları.
  • Ziauddin, S. (1999). Orientalism. McGraw-Hill Education (UK).
  • Scognamillo, G. (1996). Batı Sinemasında Türkiye ve Türkler. İnkılap.
  • Shaheen, J. G. (2000). Hollywood’s Muslim Arabs. The Muslim World, 90(1-2), 22-42. https://doi.org/10.1111/j.1478-1913.2000.tb03680.x
  • Valantin, J. M. (2005). Hollywood, The Pentagon and Washington. Anthem Press.
  • Ventura, L. (2017). The “Arab Spring” and Orientalist Stereotypes: The Role of Orientalism in The Narration of the Revolts in The Arab World. Interventions, 19(2), 282-297. https://doi.org/10.1080/1369801X.2016.1231587
There are 35 citations in total.

Details

Primary Language Turkish
Subjects Documentary Film - Political Cinema
Journal Section Reviews
Authors

Hüdai Ateş 0000-0001-8097-278X

Publication Date November 13, 2023
Submission Date October 19, 2023
Acceptance Date November 4, 2023
Published in Issue Year 2023 Volume: 2 Issue: 2

Cite

APA Ateş, H. (2023). Kameraların Ardındaki Doğu: Belgesel Filmlerde Oryantalist Stereotipler. TAM Akademi Dergisi, 2(2), 176-193. https://doi.org/10.58239/tamde.2023.04.002.x

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