Sinematik anlatımda kolektif kimlik ve travmatik hafıza

Yıl 2017, Cilt: 2 Sayı: 4, 43 - 56, 31.10.2017

Asma Hedi Nairi

Öz

Bu çalışma, sömürge sonrası dönem Kuzey Afrika toplumlarındaki sinema filmi üretiminin travmatik hafıza ve kültürel kimliklerin dışavurumundaki rolünü analiz etmek istemektedir. Birer görsel sanat ürünü olan sinema filmlerinin, geçmişin yeniden inşa edilmesinde ve tarihi anlatıların hatırlara getirilmesindeki işlevi üzerinde durulmaktadır. Bu maksatla, Kuzey Afrika’nın koloni dönemini yansıtan az sayıdaki sinema filminden biri olan Çöl Aslanı: Ömer Muhtar adlı filmden yola çıkılmaktadır. Film aracılığı ile kültürel unsurların görsel olarak geçmiş ve bugünü bütünleştirici rolüne vurgu yapılmaktadır. Ömer Muhtar karakterinin kahramanlaştırılarak anlamların yeniden üretimi sağlanırken, nesiller arası ilişki kurulduğu ve kültürel hafızanın güçlendiği iddia edilmektedir.

Anahtar Kelimeler

Kültürel kimlik, travmatik hafıza, sömürge sonrası dönem, film araştırmaları

Collective identity and traumatic memory in the cinematic expression

Öz

The present article is an analysing work to the role of the cinematic production in the expression of traumatic memory and cultural identity, in the postcolonial North African societies. Following the cultural production and postcolonial theoretical framework, I try to investigate the way films as a form of visual art production enables the reconstruction of the past and recalls historical narratives. Analysing meanwhile the interconnection of the concepts of identity and memory the article focuses on their expression of the cultural productions. In a second level I specify the conceptual study to the “traumatic memory” and “cultural identity”, and I tried to explain the cinematographic tools explored in the construction of the remembered collectivity. The Lion of the Desert: Omar Muhtar being one of the rare films testifying the north African colonial history that reached an international fame, was the cinematic example followed to understand the way the visualization of cultural elements assure effective recall to the past and presents an alternative form of building the meaning and rebuilding the symbolism of the Hero to revive the collective and cultural memory in an intergenerational frame.

Anahtar Kelimeler

Cultural identity, traumatic memory, post-colonialism, cinema studies

Kaynakça

• Alexander, Jeffrey (2010) Cultural trauma and collective identity. Berkeley, Calif.: Univ. of California Press.
• Baker, Houston A.,Diawara, Manthia & Lindeborg, Ruth (1996) Black British culturalstudies: a reader. Chicago: University of Chicago Press.
• Bisschoff, Lizelle & Peer, Stefanie Van de. (2013) Art and trauma in Africa: representations of reconciliation in music, visual arts, literature and film. London: I.B. Tauris, 213-231.
• Blake, Linnie (2012) The wounds of nations: horror cinema, historical trauma and national identity. Manchester: Manchester University Press.
• Bourdieu, Pierre & Johnson, Randal (2016) The field of cultural production: essays on art and literature. Cambridge: Polity Press, 60-61.
• Bourdieu, Pierre (2016) The rules of art: genesis and structure of the literary field. Cambridge: Polity Press, 78-82.
• Brave Heart, Maria Yellow Horse & Spicer, P. (1999) The sociocultural context of American Indian Infant Mental Health. World Association of Infant Mental Health Handbook of Infant Mental Health. J.D. Osofsky& H.E. Fitzgerald (Eds.). John Wiley & Sons.
• Brown, Michelle & Rafter, Nicole (2013) Genocide Films, Public Criminology, Collective Memory. British Journal of Criminology, 53(6): 1017-1032
• Buckley, Anthony (1998) Introduction. Daring Us to Laugh: Creativity and Power in Northern Irish Symbols, in A. Buckley (ed.), Symbols in Northern Ireland (Belfast: Institute of Irish Studies, Queen’s University Press), 87–108.
• Counsell, Colin (2009) Performance, embodiment and cultural memory. Newcastle upon Tyne: Cambridge Scholars.
• During, Simon (2005) Cultural studies: a critical introduction. London: Routledge
• Ferro, Marc (2009) Cinéma et histoire. Paris: Gallimard.
• Francev, Peter (n.d.) Albert Camus’s The Stranger: Critical Essays. Cambridge Scholars Publishing.
• Gallagher, David (2013) World cinema and the visual arts. London: Anthem Press.
• Godard Jean Luc Introduction à une véritable histoire du cinéma: Tome 1 (Paris: Albatros, 1980).
• Guerin, Frances, & Hallas, Roger (2007) The image and the witness: trauma, memory and visual culture. London: Wallflower Press.
• Heintz, Kellie &Stracey, Mark (2006) Through the Lens. Port Melbourne. Cambridge University Press.
• Hill, Errol (1972) Dance Bongo: A Fantasy in One Ac, Trinidad: University of West Indies, Extramural Studies Unit.
• Taken from: Helen, Joanne, & Tompkins, Gilbert (1996) Post-Colonial Drama: Theory, Practice, Politics. London: Routledge.
• Kleber, Rolf J., Brom, Danny, &Defares, Peter B. (1997) Coping with trauma: theory, prevention, and treatment. Amsterdam: Swets & Zeitlinger.
• Pauvert, Jean-Jacques (1966) Albert Memmi: portraitducolonisé. précédé du Portrai tdu colonisateur. Paris: Jean-Jacques Pauvert Editeur.
• Rosenstone, Robert A. (2012) History on Film/Film on History (Harlow: Pearson), 51-152.
• Solanas, Fernando and Getino, Octavio (1968) –La hora de los homos (The Hour of the Furnaces) (feature), mentioned
• in Shaka, F. O. (2013). Colonial and post-colonial African cinema: (a theoretical and critical analysis of discursive practices). Coventry: University of Warwick.
• Sun, Key. (2006) The Legal Definition Of Hate Crime And The Hate Offenders Distorted Cognitions. Issues in Mental Health Nursing 27, no. 6: 597-604.
• Torchin, Leshu (2012) Creating the Witness: Documenting Genocide on Film, Video, and the Internet. University of Minnesota Press, 1017–1032 .
• Vos, Chris (2005) De geheimedienst: verhalenover de BVD. Amsterdam: Boom.
• Werbner, Richard P., Ranger, Terence O. (1996) Postcolonial identities in Africa. Atlantic Highlands, NJ: Zed Books.
• Wetta, Frank J. (2014) The long reconstruction. The post-Civil War south in history, film and memory. New York, NY: Routledge.