TY  - JOUR
T1  - Heteroglossia in and of Film: La Haine
TT  - Filmde Heteroglossia Filmin Heteroglossia’sı: La Haine
AU  - Tunc Cox, Ayca
AU  - Jaidane, Oumima
PY  - 2019
DA  - December
DO  - 10.31123/akil.617741
JF  - Akdeniz Üniversitesi İletişim Fakültesi Dergisi
JO  - Akdeniz İletişim
PB  - Akdeniz Üniversitesi
WT  - DergiPark
SN  - 2619-9718
SP  - 38
EP  - 53
IS  - 32
LA  - en
AB  - Thisarticle evaluates the film La Haine(1995) directed by Mathiew Kassovitz with specific reference to the Bakhtinian conceptof “heteroglossia”. The film is still socially and politically significant andrelevant especially in relation to the refugee crisis, the increasingxenophobia and islamophobia that continue burdening Europe today. The film canbe considered under the rubrics of diasporic cinema, beur cinema, banlieuecinema and French cinema based on its thematic concerns and its centralcharacters. This article, however, particularly focuses on the work itself as aheteroglot, polyglot utterance in the contexts of French film and banlieuefilm. Secondly, it analyses the framing of the characters as Others in thecontext of post-industrial, post-colonial France by focusing on theirutterances and the social and cultural connotations of these utterancesthroughout the film. The close textual analysis reveals that there are severalregisters of heteroglossia detectable in this audio-visual narrative,underlying its multilayered character.
KW  - Heteroglossia
KW  - French cinema
KW  - banlieue cinema
KW  - beur cinema
KW  - cinema of minorties
KW  - La Haine
N2  - Bu makale Mathiew Kassovitz’in yönetmenliğini üstlendiği La Haine (1995) adlı filmi Bakhtin’in“heteroglossia” kavramı özelinde analiz etmektedir. Avrupa’yı sarsmaya devam eden mülteci krizinin, yükselenislamofobinin ve yabancı düşmanlığının gölgesinde film güncelliğini,dolayısıyla sosyal ve politik önemini korumaktadır. Film, teması ve merkezikarakterleri itibariyle, “diyasporik sinema”, “beur sinema”, “banliyö sineması”ve “Fransız sineması” gibi çeşitli tanımlayıcı kategoriler içindedeğerlendirilebilmektedir. Fakat çalışma kapsamında, Fransız sineması vebanliyö sineması bağlamsal çerçevesi içinde, çok sesli, çok dilli bir anlatıolarak özellikle filmsel metnin kendisine odaklanılmaktadır. Bu doğrultuda, filmdekikarakterlerin ifadeleri ve bu ifadelerin sosyal ve kültürelyananlamları/çağrışımları baz alınarak, sanayi sonrası ve sömürgecilik sonrasıFransa’sında bu karakterlerin nasıl birer “öteki” olarak çerçevelendiği analizedilmektedir. Yapılan detaylı metin analizi, bu görsel işitsel anlatının çokkatmanlı yapısını vurgulayacak şekilde farklı “heteroglossia” kullanımlarınınvarlığını göstermektedir.
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UR  - https://doi.org/10.31123/akil.617741
L1  - https://dergipark.org.tr/tr/download/article-file/923087
ER  -