Tarihsel Dönem Dizilerine Mesafeli Bakış: Eleştirel Bir Tür olarak İngiliz Ulusal Miras Filmleri

Yıl 2023, , 101 - 130, 18.10.2023

Muhammed Burak Özdemir

https://doi.org/10.59597/akademikaci.1337200

Öz

Bu çalışma geçmişin sinema ve televizyon ekranlarındaki görsel temsillerine eleştirel bakışı temsil etmek üzere 1980’lerde İngiltere özelinde ortaya çıkarak günümüze değin gelişim gösteren ulusal miras filmleri üst başlığının, türsel bir kategori olarak dönem dizilerine uyarlanabileceğini tartışmayı hedeflemektedir. 'Ulusal miras filmleri' etiketi, Viktorya ya da Edward dönemlerine ait İngiliz emperyal geçmişini öven muhafazakâr ve milliyetçi anlatılara karşı kültür endüstrisi, postmodernizm ve gösteri toplumu eleştirisinden beslenen mesafeli duruşu ifade etmek için kullanılmaktadır. Özellikle 1990’ların sonu ve 2000’li yıllar boyunca çoğunlukla postmodern estetiğin imkanlarını vurgulamayı tercih eden yorumlar eşliğinde ulusal miras eleştirisinin gelinen noktada açıklayıcı gücünü kaybettiğine yönelik görüşler dile getirilmektedir. Aksine bu çalışma, gösteri toplumunun içine gömülü olan dönem dramalarının anlamı üzerine verilen söylemsel mücadelelerin tarihsel seyrini sürmenin, kültür endüstrisi eleştirisine yaslı ulusal miras kategorisinin bir tür olarak geçerliliğini göstermeyi amaçlamaktadır.

Anahtar Kelimeler

İngiliz ulusal miras eleştirisi, tarihsel dönem dramaları, kültür endüstrisi, gösteri toplumu, postmodernizm

A Distanced View of Historical Period Dramas: English Heritage Films as a Critical Genre

Öz

This study aims to argue that the heritage films, which emerged in the 1980s in the UK to represent a critical view of the visual representations of the past on cinema and television screens, can be adapted to period dramas as a genre category. The label 'heritage films' is used to express a distanced stance that is fed by the criticism of the culture industry, postmodernism and the society of spectacle against conservative and nationalist narratives that tended to praise the British imperial past of the Victorian or Edwardian eras. Particularly in the late 1990s and 2000s, there has been a tendency to emphasize the possibilities of postmodern aesthetics to argue that the critique of national heritage has lost its explanatory power by then. On the contrary, this study aims to trace the historical course of the discursive struggles over the meaning of period dramas embedded in the society of spectacle and to demonstrate the validity of the category of national heritage as a genre of culture industry criticism.

Anahtar Kelimeler

Heritage criticism, historical period dramas, culture industry, society of spectacle, postmodernism.

Kaynakça

• Abbiss, W. S. (2020). Proposing a Post-heritage Critical Framework: The Crown, Ambiguity, and Media Self-consciousness. Television & New Media, 21(8), 825-841.
• Baena, R. & Byker, C. (2015). Dialects of nostalgia: Downton Abbey and English identity. National Identities, 17(3), 259-269.
• Baer, A. (2001). Consuming history and memory through mass media products. European Journal of Cultural Studies, 4(4), 491-501.
• Byrne, K. (2014). Adapting heritage: Class and conservatism in Downton Abbey. Rethinking History, 18(3), 311-27.
• Byrne, K. (2015). Edwardians on Screen: From Downton Abbey to Parade’s End. Basingstoke: Palgrave Macmillan.
• Copelman, D.M. (2019). Consuming Downton Abbey: The Commodification of Heritage and Nostalgia. Journal of British Cinema and Television 16(1), 61–77.
• Corner, J. & Harvey, S. (1991). Mediating tradition and modernity: the heritage/enterprise couplet. In J. Corney & S. Harvey (Eds.), Enterprise and Heritage: Crosscurrents of National Culture (45-73). London and New York: Routledge.
• Debord, G. (1996). Gösteri Toplumu ve Yorumlar (A. Ekmekçi ve O. Taşkent, Çev). İstanbul: Ayrıntı Yayınları.
• De Groot, J. (2022). Tarihi Tüketmek. (B. Helvacıoğlu, Çev.). İstanbul: Yeni İnsan Yayınevi
• Edgerton, G. R. (2001). Introduction: Television as Historian: A different kind of history altogether. In G. R. Edgerton & P.C. Collins (Eds.), Television Histories: Shaping collective memory in the media age, (1-16). Lexington, KY: The University Press of Kentucky.
• Hall, S. (2001). The Wrong Sort of Cinema: Refashioning the Heritage Film Debate. In R. Murphy (Ed), The British Cinema Book, (191-199). London: British Film Institute.
• Hewison, R. (1987). The Heritage Industry: Britain in a climate of decline. London: Methuen.
• Higson, A. (1993). Representing the national past: nostalgia and pastiche in the heritage film. In L. Friedman (Ed.), Fires Were Started: British Cinema and Thatcherism, (pp. 109-129). University of Minnesota Press.
• Higson, A. (1996). The Heritage Film and British Cinema. In Andrew Higson (Ed), Dissolving Views: Key Writings on British Cinema, (232-248). London: Cassell.
• Higson, A. (2003). English Heritage, English Cinema. Oxford: Oxford University Press.
• Higson, A. (2012). Re-presenting the national past: nostalgia and pastiche in the heritage film. In B. K. Grant (Ed.), Film Genre Reader IV (pp. 602-627). University of Texas Press.
• Jameson, F. (2018 [1991]. Postmodernizm ya da Geç Kapitalizmin Kültürel Mantığı, (C. Gönenç, Çev.). İstanbul: Alfa Yayınları.
• Kao, V. (2015). Adapting Heritage: Reading the Writerly Text in "Orlando". Literature/Film Quarterly, 43 (4), 276-290.
• Kellner, D. (2003). Media Spectacle. London & New York: Routledge.
• Koepnick, L. (2002). Reframing the past: Heritage cinema and Holocaust in the 1990s. New German Critique, 87(Special issue on Postwall Cinema), 47-82.
• Lowenthal, D. (2015). The Past is a Foreign Country: Revisited. Cambridge: Cambridge University Press.
• Mittell, J. (2001). A Cultural Approach to Television Genre Theory. Cinema Journal, 40(3), 3-24.
• Mittell, J. (2004). Genre and Television: From Cop Show to Cartoons in American Culture. New York, NY: Routledge.
• Monk, C. (1995). The British 'heritage film' and its critics. Critical Survey, 7(2), 116-124.
• Monk, C. (1996–97). The Heritage Film and Gendered Spectatorship. Close Up: The Electronic Journal of British Cinema 1. http://www.shu.ac.uk/services/lc/closeup/monk.htm.
• Monk, C. (2001 [1995]). Sexuality and heritage. In G. Vincendeau (Ed), Film/Literature/Heritage: A Sight and Sound Reader, (6-11). London: British Film Institute.
• Monk, C. (2002). The British Heritage Debate Revisited. In C. Monk, & A. Sargent (Eds), British Historical Cinema: The History, Heritage and Costume Film, (176–198). London: Routledge.
• Monk, C. (2011). Heritage Film Audiences: Period Films and Contemporary Audiences in the UK. Edinburgh: Edinburgh University Press.
• Raphael, S. (1994). Theatres of Memory: Past and Present in Contemporary Culture. London: Verso New Left Books
• Rosenstone, R. A. (2006). History on Film / Film on History. London and New York: Routledge.
• Trimm, R. Heritage and the Legacy of the Past in Contemporary Britain. New York & London: Routledge.
• Vidal, B. (2012). Heritage Film: Nation, Genre and Representation. London & New York: Wallflower.
• Wright, P. (1985). On Living in an Old Country: The National Past in Contemporary Britain. London: Verso.