Komünizm Sonrası Polonya, Litvanya ve Letonya Sineması Belgesel Filmlerinde Yoksulluk Tasvirleri

Year 2021, , 107 - 124, 26.06.2021

Çiçek Topçu

https://doi.org/10.35235/uicd.889272

Abstract

Bu makalede, sosyalist yönetimlerin yıkılmasından sonraki dönemde, Baltık bölgesinde çekilmiş üç belgesel filmde yoksul ailelerin nasıl tasvir edildiği incelenecektir. Filmler Ewa Borzecka’nın “Trzynastka” / “On Üç” (1996, Polonya), Marat Sargsyan’ın “Tevas” / ”Baba” (2012, Litvanya) ve Andris Gauja’nın “Gimenes lietas” / “Aile İçgüdüsü” (2010, Letonya) eserleridir. Üç film de, bu tasvirler normal olarak kabul edilemeyecek, “Hastalıklı” (Pathological) sayılabilecek bir aile odağında yapılmıştır. Makalenin sunduğu sav ise; film yapımcılarının bu durumu öne çıkarmak suretiyle, devletin vatandaşlarına makul bir yaşam standardı sağlama sorumluluğunu önemsizleştirmeyi amaçladıkları yönündedir.

Keywords

Yoksulluk, Sosyal Dışlanma, Doğu Avrupa Sineması, Letonya Belgeselleri, Litvanya Belgeselleri, Polonya Belgeselleri.

Representation of Poverty in Polish, Lithuanian and Latvian Documentary Films of the Post-Communist Period

Abstract

This article examines the representation of poor families in three documentary films from the Baltic region, produced after the fall of state socialism: Ewa Borz˛ ecka’s 13 or Trzynastka/Thirteen (1996, Poland), Marat Sargsyan’s T_evas/Father (2012, Lithuania) and Andris Gauja’s G¸imenes lietas/Family Instinct (2010, Latvia). Each film does so by focusing on a family which does not fit the dominant Notion of a normal family and instead comes across as a ‘pathological’ family. Our argument is that by foregrounding such a connection the filmmakers play down the state’s responsibility for ensuring a decent standard of living for all citizens.

Keywords

Poverty; Social Exclusion, Eastern European Cinema, Latvian Documentary, Lithuanian Documentary, Polish Documentary

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