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NAZİ PROPAGANDA SİNEMASININ POPÜLER SİNEMAYA GÖRSEL TASARIM AÇISINDAN ETKİLERİ: YILDIZ SAVAŞLARI

Year 2024, , 997 - 1018, 01.10.2024
https://doi.org/10.7456/tojdac.1516897

Abstract

Nazi Almanya’sında kültür ve sanatın her alanını kontrol ederek Nazi ideolojisini meşrulaştırmanın en önemli araçlarından olan sinema, Leni Riefenstahl’in filmlerinde hem anlatıyı hem de görselliği amaçları doğrultusunda ustaca kullanmıştır. Dünya Savaşı’nı kaybedilmesine rağmen Nazi propaganda sineması Hollywood sinemasında etkilerini göstermeye devam etmiştir. 1970’lerden sonra punk rock kültürünün yükselişe geçmesiyle müzik kliplerinde giderek görünürlüğü artan Nazi propaganda sineması estetiği gerek eleştirel amaçla gerekse bağlamından koparıp sadece estetik bir öge olarak kullanılmıştır. Popüler kültürün kült yapımlarından Yıldız Savaşları (Star Wars) film serisinin görsel tasarım aşamasında sıklıkla başvurulan kaynaklardandır. Bu çalışmada, George Lucas’ın yarattığı Yıldız Savaşları serisinde Leni Riefenstahl’in İrade’nin Zaferi filminden ilham alınarak üretilen görsel kompozisyonlar, görsel tasarım ögelerinden denge, tekrar, vurgu, oran-orantı ve zıtlık açısından incelenmiştir. Sonuç olarak Nazi propaganda sinemasında karşılaşılan görsel tasarım biçimlerinin Yıldız Savaşları’nın kronolojik olarak ilk filmlerinde daha çok görsel unsur olarak, serinin ilerleyen filmlerinde ise içerikle görselliği Nazi dönemiyle bağdaştırarak kullanıldığı belirlenmiştir.

Ethical Statement

Bu çalışma için etik kurul izni gerekmemektedir.

References

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THE EFFECTS OF NAZI PROPAGANDA CINEMA ON POPULAR CINEMA FROM THE PERSPECTIVE OF VISUAL DESIGN: STAR WARS

Year 2024, , 997 - 1018, 01.10.2024
https://doi.org/10.7456/tojdac.1516897

Abstract

Cinema, which was one of the most essential means of legitimizing Nazi ideology by controlling all areas of culture and art in Nazi Germany, skilfully used both narrative and visuality in Leni Riefenstahl's films for its purposes. Despite the loss of World War II, Nazi propaganda cinema continued to exert its influence on Hollywood cinema. The aesthetics of Nazi propaganda cinema, which became increasingly visible in music videos with the rise of punk rock culture after the 1970s, was used both for critical purposes and as an aesthetic element, detached from its context. Nazi propaganda cinema is one of the sources frequently used in the visual design phase of the Star Wars movie series, one of the cult productions of popular culture. As a result, it has been determined that the visual design styles encountered in Nazi propaganda cinema were primarily used as visual elements in the chronologically first films of Star Wars, however in the later films of the series, they were used by associating the content and visuality with the Nazi period.

References

  • Abbenhuis, M., & Buttsworth, S. (2010). Introduction: The Mundanity of Evil: Everyday Nazism in Post-War Popular Culture. S. Buttsworth, & M. Abbenhuis içinde, Monsters in the Mirror: representations of Nazism in Post-War Popular Culture (s. viii-xl). Santa Barbara, Denver & Oxford: Praeger.
  • Agafonova, K., Bekisheva, K., Drabenia, O., Petrova, A., & Ivanova, K. (2021). How Do People Read Science Fiction and Why Is It Popular: Common Tendencies and Comparative Analysis. Education and Research in the Information Society, September 27-28, 43-53. https://ceur-ws.org/Vol-3061/ERIS_2021-art05(reg).pdf adresinden alındı
  • Ascheid, A. (2003). Hitler's Heroines: Stardom and Womanhood in Nazi Cinema. Philadelphia: Temple University Press.
  • Atmaca, A. E. (2014). Temel Tasarım. Ankara: Nobel Akademik Yayıncılık.
  • Bastiansen, H. G., Klimke, M., & Werenskjold, R. (2019). Introduction: Mapping the Role of the Media in the Late Cold War. H. G. Bastiansen, M. Klimke, & R. Werenskjold içinde, Media and the Cold War in the 1980s: Between Star Wars and Glasnost (s. 1-18). Cham, Switzerland: Palgrave Macmillan. https://doi.org/10.1007/978-3-319-98382-0
  • Baufumé, C. F. (2023). Star Wars: America from a Certain Point of View. Fordham Political Review: https://fordhampoliticalreview.org/star-wars-america-from-a-certain-point-of-view/ adresinden alındı
  • Becer, E. (2015). İletişim ve Grafik Tasarım. Dost Kitabevi.
  • Benjamin, W. (2002). Tekniğin Olanaklarıyla Yeniden Üretilebildiği Çağda Sanat Yapıtı. W. Benjamin içinde, Pasajlar (A. Cemal, Çev., 4. b., s. 50-86). İstanbul: Yapı Kredi Kültür Sanat Yayıncılık.
  • Box Office Mojo. (2024). Star Wars: Episode IV - A New Hope. 11.08.2024 tarihinde Box Office Mojo by IMDB Pro: https://www.boxofficemojo.com/title/tt0076759/ adresinden alındı
  • Bramsted, E. K. (2008). Joseph Goebbels and National Socialist Propaganda 1926-1939: Some Aspects. Australian Outlook, 8(2), 65-93. https://doi.org/10.1080/10357715408443904
  • Caro, M. (2005). `Star Wars' Inadvertently Hits Too Close to U.S.'s Role. Chicago Tribune: http://articles.chicagotribune.com/2005-05-18/features/0505180309_1_star-wars-sith-palpatine adresinden alındı
  • Ching, F. D. (2007). Architecture: Form, Space and Order (3rd b.). Wiley.
  • Civcir, E. (2015). Temel Tasarım ve Tasarım İlkeleri. Akademisyen Kitabevi.
  • Cramer, K., & Hartwell, D. G. (2006). Introduction - How Shit Became Shinola: Definition and Redefinition of Space Opera. D. G. Hartwell, & K. Cramer içinde, The Space Opera Renaissance (Reprint b.). New York: Tor Books.
  • Çınar, K., & Çınar, S. (2018). Temel Tasarım. KTO Karatay Üniversitesi Yayınları. Fox, J. (2006). Film Propaganda in Britain and Nazi Germany - World War II Cinema. Oxford and New York: Berg Publishers.
  • Gürocak, T., & Çoban, G. (2023). Analysing the Visual Composition in Cinema in the Context of Design Principles. A. Zeynalova (Dü.), 11th International Congress on Humanities and Social Sciences in a Changing World içinde (s. 1-15). İzmir: BZT Akademi Yayınevi. https://drive.google.com/file/d/1UqTIau1a-1f66QXEWBLUEXICoqJZxnjN/view?usp=sharing adresinden alındı
  • Gordon, A. (1978). Star Wars: A Myth for Our Time. Literature and Film Quarterly, 6(4), 314-326. https://classics.domains.skidmore.edu/lit-campus-only/secondary/Film/Gordon%201978.pdf adresinden alındı
  • Guenther, I. (2004). German Chic? Fashioning Women in the Third Reich. Oxford & New york: Berg.
  • Hagopian, K. (2024). Film Notes - Triumph of the Will. (University of Albany) New York State Writers Institute: https://www.albany.edu/writers-inst/webpages4/filmnotes/fns07n6.html adresinden alındı
  • Heans, S. (2021). Propaganda ve Nazi Germany. (University of Washington) Cinema as Technology: https://uw.pressbooks.pub/cat2/chapter/propaganda-and-nazi-germany/ adresinden alındı
  • Hoberman, J. L. (2016). 'Triumph of the Will': Fashist Rants and the Hollywood Responce. The New York Times: https://www.nytimes.com/2016/03/06/movies/homevideo/triumph-of-the-will-fascist-rants-and-the-hollywood-response.html adresinden alındı
  • Hoberman, J. L. (2019). Museum Quality: J. Hoberman on Triumph of the Will (x2) and the Artification of Fascism. Film Comment, 55(1, January-February), 54-57. https://www.filmcomment.com/article/triumph-of-the-will/?fbclid=IwY2xjawEmqHFleHRuA2FlbQIxMQABHQgf1gpFWltUji2T8UK2LnD7rFQqTfPjPoj0bKBZEJlPPG-6rGpxWK3Hxw_aem_6nDu130UuZ_GPhdyMzI71A adresinden alındı
  • Jenning, K. (2017). 10 Musicians or Bands that Flirted with Nazism. (Listverse Ltd.) Listverse: https://listverse.com/2017/07/17/10-musicians-or-bands-that-flirted-with-nazism/ adresinden alındı
  • Kaminski, M. (2008). The Secret History of Star Wars: The Art of Stroytelling and the Making of a Modern Epic (3rd b.). Legacy Books Press.
  • Kant, M. (2023). The Arts and Nazism: Aesthetic Adventure and Political Terror. (M. Polgar, S. John, Düzenleyenler, & The Pennsylvania State University) The Holocaust: Remembrance, Respect, and Resilience: https://psu.pb.unizin.org/holocaust3rs/chapter/1-5-the-arts-and-nazism-aesthetic-adventure-and-political-terror/ adresinden alındı
  • Keane, E. (2014). Nicki Minaj Steals SS Imagery: A Brief History of Nazi-Inspired Pop Culture. (Salon.com, LLC) Salon: https://www.salon.com/2014/11/10/nicki_minaj_steals_ss_imagery_a_brief_history_of_nazi_inspired_pop_culture/ adresinden alındı
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  • Kidd, L. K. (2011). Goose-Stepping Fashion: Nazi Inspiration. Paideusis - Journal for Interdisciplinary and Cross-Cultural Studies, 5(C1-C29).
  • Klein, C. (2017). The Real History That Inspired ‘Star Wars’ - Historical Figures and Events Informed George Lucas as He Created His Sci-Fi Saga in a Galaxy Far, Far Away. History: https://www.history.com/news/the-real-history-that-inspired-star-wars adresinden alındı
  • Lucas, G. (2005). George Lucas lets Ian McDiarmid and Hayden Christensen get their Revenge in Episode III. SciFi.com. (D. Dykstra, Röportaj Yapan) http://www.scifi.com/sfw/issue421/interview.html adresinden alındı
  • MacMullan, T. (2013). Elegant Weapons for Civilized Ages: The Jedi and Warrior-Monks throughout History. N. R. Reagin, & J. Liedl içinde, Star Wars and History (s. 67-98). Hoboken, NJ: Wiley.
  • Maguire, L. (2013). “Fear Is the Path to the Dark Side”: Nuclear Weapons and the Death Star. N. R. Reagin, & J. Leidl içinde, Star Wars and History (s. 203-226). Hoboken, NJ: Wiley.
  • Moy, R. (2022). Space Opera: What It Is and How to Write It. Skillshare: https://www.skillshare.com/en/blog/space-opera-what-it-is-and-how-to-write-it/ adresinden alındı
  • Nas, E., & Topaklı, A. (2017). Kültürel Kent İmajını Etkileyen Büyükşehir Belediyesi Logolarına Öznel ve Nesnel Bir Yaklaşım. Sosyal Bilimler Dergisi, 4(17), 152-167. https://doi.org/10.16990/SOBIDER.3891
  • New Musical Express [NME]. (1998). Nazis? Heil No! (New Musical Express Network) NME: https://www.nme.com/news/music/rammstein-8-1385306 adresinden alındı
  • Ormerod, L. (2023). Why Did Star Wars Start with Episode 4? Jedinet: https://jedinet.com/star-wars-questions-answers/why-did-star-wars-start-with-episode-4/ adresinden alındı
  • Peate, S. (2024a). Contrast in Graphic Design: Exploring the Principles of Design Contrast. Brand Fabrik: https://fabrikbrands.com/principles-of-contrast-in-graphic-design-principles-of-design-contrast/ adresinden alındı
  • Peate, S. (2024b). Proportion in Graphic Design: The Principles of Design Proportion. Brand Fabrik: https://fabrikbrands.com/proportion-in-graphic-design-principles-of-design-proportion/ adresinden alındı
  • Peate, S. (2024c). Repetition in Graphic Design: Discover the Repetition Principle of Design. Brand Fabrik: https://fabrikbrands.com/repetition-in-graphic-design-repetition-principle-of-design/ adresinden alındı
  • Peate, S. (2024d). What Is Balance in Graphic Design? Understanding the Balance Principle of Design. Brand Fabrik: https://fabrikbrands.com/balance-in-graphic-design-the-balance-principle-of-design/ adresinden alındı
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Details

Primary Language Turkish
Subjects Fine Arts, Filmmaking and Directing, Cinema and Aesthetics
Journal Section RESEARCH ARTICLES
Authors

Tolga Gürocak 0000-0002-5284-8447

Early Pub Date September 21, 2024
Publication Date October 1, 2024
Submission Date July 16, 2024
Acceptance Date September 18, 2024
Published in Issue Year 2024

Cite

APA Gürocak, T. (2024). NAZİ PROPAGANDA SİNEMASININ POPÜLER SİNEMAYA GÖRSEL TASARIM AÇISINDAN ETKİLERİ: YILDIZ SAVAŞLARI. Turkish Online Journal of Design Art and Communication, 14(4), 997-1018. https://doi.org/10.7456/tojdac.1516897


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