Cinematic Orientalism: East-West Perception in Netflix's 'Swimmers'

Year 2024, Volume: 4 Issue: 1, 43 - 63, 30.06.2024

Kemal Çelik

https://doi.org/10.60077/medkul.1482205

Abstract

This article analyzes the movie "The Swimmers" using ideological and frame-by-frame film analysis methods. The themes, characters, and locations in the film are evaluated in the context of the critique of orientalism and self-orientalism, analyzing how ideological themes are processed and reinforced. The film associates concepts of faith and hope with Christianity, presenting Christian characters as saviors. While telling the story of Syrian refugees, the film chooses Christian and European-looking heroes, portraying Muslims negatively. Emphasizing the superiority of Western culture, the film depicts the Eastern world as backward and helpless. Countries such as Turkey are coded as dark and uncanny, while European countries are idealized. The positive portrayal of Greece praises European efforts towards refugees but creates a negative image of the Turkish Coast Guard. The orientalist and self-orientalist elements of the film are attempts to present an attractive narrative for Western audiences. The Muslim screenwriter's distortion of Eastern historical realities under Western producers' influence represents self-orientalism. This approach reflects an endeavor to present Eastern culture in line with Western perspectives to gain Western approval, reinforcing prejudices rather than fostering understanding of cultural and political differences.

Keywords

Swimmers, Orientalism, Self Orientalism, Syrian Refugee, Netflix

Sinematik Oryantalizm: Netflix’in ‘Yüzücüler’ Filminde Doğu-Batı Algısı

Abstract

Bu makalede, "Yüzücüler" filminin söylemi, ideolojik ve kare kare film analizi yöntemleri kullanılarak incelenmiştir. Filmdeki temalar, karakterler ve mekanlar, oryantalizm ve self-oryantalizm eleştirisi bağlamında değerlendirilmiş, ideolojik temaların nasıl işlendiği ve pekiştirildiği analiz edilmiştir. Buna göre, film, Hristiyan karakterleri kurtarıcı olarak sunarak, inanç ve umut kavramlarını Hristiyanlıkla ilişkilendirir. Suriyeli mültecilerin hikayesini anlatırken, kahramanların Hristiyan ve Avrupai görünümlü kişilerden seçer ve Müslümanları olumsuz bir şekilde tasvir eder. Batı kültürünün üstünlüğünü vurgulayan film, Doğu dünyasını geri kalmış ve çaresiz olarak gösterir. Türkiye gibi ülkeler karanlık ve tekinsiz yerler olarak, Avrupa ülkeleri ise idealize edilmiş mekanlar olarak kodlar. Yunanistan'ın olumlu tasviri, mültecilere yönelik Avrupa'nın çabalarını överken, Türk sahil güvenliğinin olumsuz bir imajla sunulmasına yol açar. Filmin oryantalist ve self-oryantalist unsurları, Batılı izleyicilere yönelik çekici bir anlatı sunma çabasının bir sonucudur. Müslüman senarist/yönetmenin, Batılı yapımcıların etkisi altında Doğu'nun tarihsel gerçekliklerini çarpıtarak anlatması, self-oryantalizmi temsil eder. Bu yaklaşım, Doğu kültürünü Batılı bakış açısına uygun bir şekilde sunma ve Batılı onayı kazanma çabasını yansıtır. Sonuç olarak, film, kültürel ve siyasi farklılıkları anlamaktan ziyade önyargıları pekiştiren bir yapıya sahiptir.

Keywords

Swimmers, Oryantalizm, Self Oryantalizm, Suriyeli Mülteci, Netflix

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