Eğlence medyasında din temsilleri: İsrail’deki Shtisel ve Türkiye’deki Ömer televizyon dizilerinin karşılaştırması

Year 2024, , 115 - 141, 08.01.2025

Ayşenur Kılıç

https://doi.org/10.26650/CONNECTIST2024-1515576

Abstract

Bu araştırma, Küresel Güney’den iki örneğe -İsrail dizisi Shtisel ile onun Türkiye’deki format adaptasyonu olan Ömer- odaklanarak eğlence medyası, politika ve toplum arasındaki ilişkiler hakkındaki teorik tartışmaları, Curran’ın radikal demokrasi alternatif yaklaşımı ile ele almayı amaçlamaktadır. İncelenen iki dizi de her iki ülkede son zamanlarda popülerleşen bir türü temsil etmesi açısından önemlidir: Dindar insanların modern/seküler günlük yaşamdaki kafa karışıklığını veya dindar-seküler hayat tarzları karşılaştırmasını temsil eden diziler. Türkiye’deki format uyarlamalarını incelemek ayrıyeten önem teşkil etmektedir, çünkü ithal format uyarlamaları Türk dizileri hakkındaki literatürde görece daha az incelenmiştir. Çalışmadaki anlatı analizi sonucunda dört ana anlatı öne çıkmaktadır: i) teknoloji kullanımı, ii) Ömer’de dış dünyaya duyulan şüphe, iii) toplumsal cinsiyet anlatıları ve iv) her iki dizideki din temsillerinde, Ömer’de siyasallaşma ve Shtisel’de siyasallaşmadan arındırma (depolitizasyon) anlatıları. Radikal demokrasi çerçevesi Ömer’i yeterince açıklamakta iken, İsrail örneğindeki ulusaşırı siyasiekonomik bağlam dikkate alınmadıkça Shtisel’i anlamada sınırlı kalmaktadır. Son olarak, homojen bir bütün olmayan Küresel Güney’deki çok katmanlı, dinamik ve kendine has boyutları olabilen her bir vakayı anlayabilmek için her ülke örneğindeki format adaptasyonuna ait yerel, kültürel ve metinlerarası özellikler hakkında daha fazla teorik incelemeye ihtiyaç olduğu görülmektedir.

Keywords

Format adaptasyonu, James Curran, Türkiye, İsrail, anlatı analizi

Representations of religion in the entertainment media: A comparison of the TV series Shtisel in Israel and Ömer in Türkiye

Abstract

This research focuses on two cases from the Global South -the Israeli series Shtisel and its Turkish scripted format adaptation Ömer- to revisit the theoretical debates on the relations between entertainment media, politics, and society by employing Curran’s radical democratic approach. Both series illustrate a recently popular genre: Pious people’s bemusement with modern/secular everyday life. Analyzing TV format adaptations in Türkiye is further significant because the imported format adaptations remain relatively less studied. Four main narratives come into prominence via the narrative analysis: i) the use of technology, ii) the skepticism towards the outside world in Ömer, iii) gender narratives, and iv) politicization/depoliticization of representations of religion. Shtisel represents religion without reflecting current socio-political conflicts, Ömer reflects religion as a site of contestation and polarization of differing identities by reproducing political conflicts from everyday life into fiction. Curran’s framework explains Ömer sufficiently but is limited in helping understand Shtisel unless the Israeli case’s transnational political-economic context is considered. Finally, to comprehend multilayered, dynamic, and sui generis cultural dimensions for each case in the Global South -which is not a homogenous whole- further theoretical inquiry on local, cultural and intertextual characteristics of scripted format adaptations in individual cases is needed.

Keywords

Scripted format adaptation, James Curran, Türkiye, Israel, narrative analysis

Thanks

I would like to thank the editors of the special issue Dr. Ece Algan, Dr. Yeşim Kaptan, and Dr. Ayşen Gül for their kind support and understanding, and the anonymous reviewers for their constructive comments for this article.

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