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WAR AS A FORM OF ENTERTAINMENT AND THE AESTHETICIZATION OF WAR: IMPACTS OF WAR-THEMED MOVIES

Yıl 2024, Cilt: 12 Sayı: 1, 1 - 19, 03.07.2024
https://doi.org/10.52122/nisantasisbd.1345854

Öz

The aestheticization of war through movies, i.e. the presentation and even glorification of violence as a means of entertainment, is a controversial issue as war is in reality brutal and evil in character. In war movies, a sense of entertainment is created with the plot, the heroism of the characters and exciting music, and thus the public's perception of war is tried to be shaped with some political motives. Often people get adventurous or romantic feelings about war through these movies, and in short, violence becomes a form of entertainment culture. This research intents to peruse the relationship between war-themed movies together with the aestheticization of war as entertainment, and whether there is a connection amid the historical periods of US international politics and American war-themed movies and their depictions. In the study, content analysis was used as the method. Among the movies originating from the United States that were released out of the Cold War period to onto the post-Arab Spring era, the following movies were selected, with one movie representing each period: “Top Gun, Black Hawk Down, 12 Strong, and Top Gun: Maverick.”

Kaynakça

  • Alford, M., (2016). "The Political Impact of the Department of Defense on Hollywood Cinema", Quarterly Review of Film and Video, 33 (4), 332-347.
  • Allmovie (2023a). "Top Gun", https://www.allmovie.com/movie/top-gun-v50435., 01.03.2023.
  • Allmovie (2023b). "Black Hawk Down", https://www.allmovie.com/movie/black-hawk-down-v257740., 02.03.2023.
  • Allmovie (2023c). "12 Strong", https://www.allmovie.com/movie/12-strong-v681695., 02.03.2023.
  • Allmovie (2023d). "Top Gun Maverick", https://www.allmovie.com/movie/top-gun-maverick-v638141., 02.03.2023.
  • Azza, S. Y. ve Prihatika, Y. D., (2021). "Sinematik Teror: Eksepsionalisme Amerika Dan Propaganda Anti-Islam Dalam Film 12 Strong", Haluan Sastra Budaya, 5 (2), 221-242.
  • Bautista, E. R., (1991). "A Study of The Relationship of Movies and Military Recruitment", Oklahoma State University Faculty of the Graduate College, https://shareok.org/bitstream/handle/11244/13662/Thesis-1991-B352s.pdf?sequence=1., 07.01.2024.
  • Bender, S. M., (2014). "Blood Splats and Bodily Collapse: Reported Realism and the Perception of Violence in Combat Films and Video Games", Projections: The Journal for Movies and Mind, 8 (2), 1-25.
  • Beyazperde (2023). "12 Strong", https://www.beyazperde.com/filmler/film-181056/., 03.03.2023.
  • Boggs, C. ve Pollard, T., (2016). The Hollywood War Machine: U.S. Militarism and Popular Culture. New York: Routledge.
  • Box Office Mojo (2023). "Top Lifetime Grosses", https://www.boxofficemojo.com/chart/top_lifetime_gross/?area=XWW., 30.04.2023.
  • Breazu, R., (2022). "The Aestheticization of Violence in Images", Philosophia, 51, 33-52.
  • Bronfen, E., (2012). Specters of War: Hollywood's Engagement with Military Conflict. New Brunswick: Rutgers University Press.
  • Carlos, J. C., (2019). "Susanne K. Langer and the Definition of Art", Eidos: A Journal for Philosophy of Culture, 3 (1), 92-103.
  • Carter, S. ve Klaus, D., (2014). International Politics and Film: Space, Vision, Power. London: Wallflower.
  • Child, N., Hanson, B., Bishop, M., Rinaldi, C. A., Bostock, J., Western, D., Taggart, P. (2014). "Effect of Mental Challenge Induced by Movie Clips on Action Potential Duration in Normal Human Subjects Independent of Heart Rate", Circulation: Arrhythmia and Electrophysiology, 7(3), 518-523. doi:https://doi.org/10.1161/CIRCEP.113.000909.
  • Chouliaraki, L., (2006). "The Aestheticization of Suffering on Television", Visual Communication, 5(3), 261-285.
  • Dalby, S., (2008). "Warrior geopolitics: Gladiator, Black Hawk Down and The Kingdom Of Heaven", Political Geography, 27, 439-455.
  • Eberwein, R., (2010). The Hollywood War Film. West Sussex: Wiley-Blackwell.
  • Fanti, K. A., Vanman, E., Henrich, C. C., ve Avraamides, M. N. (2009). "Desensitization to Media Violence Over a Short Period", Aggressive Behavior, 35(2), 179-187. doi:https://doi.org/10.1002/ab.20295.
  • Gagaridis, A., (2017). "Reaganism in Tony Scott’s Top Gun", Cultures & Relations Internationales, http://cecrilouvain.be/wp-content/uploads/2018/01/1CRI-1.pdf., 30.04.2023.
  • Gasbarri, F., (2018). "From the Sands of the Ogaden to Black Hawk Down: The End of the Cold War in the Horn of Africa", Cold War History, 18 (1), 73-89.
  • Gleiberman, O., (2018). "Film Review: 12 Strong", https://variety.com/2018/film/reviews/12-strong-review-chris-hemsworth-1202666345/., 10.04.2023.
  • Godfrey, R., (2009). "Military, masculinity and mediated representations: (con)fusing the real and the reel", Culture and Organization, 15 (2), 203-220.
  • Gozalo-Salellas, I. ve Dapena, X., (2020). "Aestheticization of Politics and the War Machine in No by Pablo Larrain", Hatry, L. (ed.), ReFocus: The Films of Pablo Larrain içinde, Edinburgh: Edinburgh University Press, 131-146.
  • Grant, B. K., (2007). Film Genre: From Iconography to Ideology. London: Wallflower.
  • Harman, S., (2019). Seeing Politics: Film, Visual Method, and International Relation. Québec: McGill-Queen's University Press.
  • History vs Hollywood (2023). "12 Strong", https://www.historyvshollywood.com/reelfaces/12-strong/., 20.03.2023.
  • Hunt, A., (2022). "How the US Military Gave Notes on Top Gun: Maverick", GQ, https://www.gq.com/story/top-gun-maverick-military-advisor-interview., 30.04.2023.
  • Imdb (2023a). "Top Gun", https://www.imdb.com/title/tt0092099/., 02.03.2023.
  • Imdb (2023b). "Black Hawk Down", https://www.imdb.com/title/tt0265086/., 02.03.2023.
  • Imdb (2023c). "12 Strong", https://www.imdb.com/title/tt1413492/., 02.03.2023.
  • Imdb (2023d). "Top Gun Maverick", https://www.imdb.com/title/tt1745960/., 02.03.2023.
  • Jenkins, T., (2012). The CIA in Hollywood: How the Agency Shapes Film and Television. Austin: University of Texas Press.
  • Jones, S. ve Dawkins, S., (2018). "Walking in Someone Else's Shoes: Creating Emphaty in the Practice of Immersive Film", Media Practice and Education, 19 (3), 298-312.
  • Kampmark, B., (2022). "Top Gun: Maverick The Pentagon Recruitment Drive", Dissident Voice, https://www.proquest.com/docview/2679447487?pq-origsite=summon., 22.03.2023.
  • Kleinen, J., (2003). "Framing the Other. A Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese", Asia Europe Journal, 1, 433-451.
  • Klien, S. A., (2005). "Public Character and the Simulacrum: The Construction of the Soldier Patriot and Citizen Agency in Black Hawk Down", Critical Studies in Media Communication, 22 (5), 427-449.
  • Krippendorff, K., (2019). Content Analysis: An Introduction to Its Methodology (4. b.). Los Angeles: SAGE Publications.
  • Lamar, J. V. Jr., (1986). "The Pentagon Goes Hollywood", Time, https://content.time.com/time/subscriber/article/0,33009,962933,00.html., 22.03.2023.
  • Letterboxd (2023a). "Top Gun", https://letterboxd.com/film/top-gun/., 02.03.2023.
  • Letterboxd (2023b), "Black Hawk Down", https://letterboxd.com/film/black-hawk-down/., 02.03.2023.
  • Letterboxd (2023c). "12 Strong", https://letterboxd.com/film/12-strong/., 02.03.2023.
  • Letterboxd (2023d). "Top Gun Maverick", https://letterboxd.com/film/top-gun-maverick/., 02.03.2023.
  • Loia, D., (2022). "The Empire Cannot Die: Propaganda and Immortality in Top Gun: Maverick", New Blackfriars, Vol. 103, 1108, 713-729.
  • Maffei, A. ve Alessandro, A., (2019). "E-Movie - Experimental Movies for Induction of Emotions in Neuroscience: An Innovative Film Database with Normative Data and Sex Differences", Plos One, 14 (10).
  • Mangolin, R. B.; Pereira, C.; Silva, M.; Monteiro, M. ve Knoblich, G. (2017). "The Musical Emotional Bursts (MEB) Dataset: A New Set of Stimuli to Induce Affective Responses", Frontiers in Psychology, Vol. 8, No. 12, 21-34.
  • Martini, E. ve Kerkhof, P., (2017). "Real-time Interpersonal Media Use, Relationship Quality, and Well-being: A Review of Research from Computer-Mediated Communication, Media Psychology, and Communication Neuroscience", Communication Monographs, Vol. 84, No. 4, 433-456.
  • Mihalache, M., (2019). "The Spectacle of Violence: Fascination and Aversion in Italian Cinema of the 1970s", Media and Communication, 7 (4), 181-190.
  • Monaco, J., (2009). How to Read a Film: Movies, Media, and Beyond. New York: Oxford University Press.
  • Murray, S., (2003). "Military Families and Media", Electronic Journal of Communication, Vol. 13, 1-15.
  • Neta, M., Norris, C. ve Whalen, P. J., (2009). "Corrugator Muscle Responses Are Associated with Individual Differences in Positivity–Negativity Bias", Emotion, 9 (5), 640-648.
  • Newman, K. ve Levine, E., (2012). Legitimating Television: Media Convergence and Cultural Status. New York: Routledge.
  • Nezlek, J. B., Feist, G. J., Wilson, T. ve Plesko, R. (2001). "Day-to-day variability in empathy as a function of daily events and mood", Journal of Research in Personality, 35(4), 401-423. doi:https://doi.org/10.1006/jrpe.2001.2323.
  • Pollard, T. ve Boggs, C., (2017). "Hollywood and the Spectacle of Terrorism", New Political Science, 39 (4), 529-546.
  • Power, M., (2007). The Film Factory: Russian and Soviet Cinema in Documents 1896-1939. New York: Routledge.
  • Pratkanis, A., (2001). "Propaganda and Persuasion", The Encyclopedia of Political Communication, Sage, 119-122.
  • Robinson, P., (2007). "Research-based Policy: Using Evidence for Accountability, Governance, and Performance", Public Administration Review, 67 (4), 533-545.
  • Schickel, R., (2001). "A Mission Into Hell", Time, https://content.time.com/time/subscriber/article/0,33009,187666,00.html., 22.03.2023.
  • Scott, A. O., (2001). "At War and Loving It", The New York Times, https://www.nytimes.com/2001/12/28/movies/film-review-at-war-and-loving-it.html., 22.03.2023.
  • Seitz, M. Z., (2017). "Why Do We Hate Film Critics?", New York Times Magazine, https://www.nytimes.com/2017/11/28/magazine/why-do-we-hate-film-critics.html., 30.04.2023.
  • Shiel, M., (2012). Hollywood Cinema and the Real Los Angeles. London: Reaktion Books.
  • Smith, M., (2001). Killing the Future: Women and the Millennium. New York: Black Rose Books.
  • Stoddard, J. D. ve Marcus, A. S., (2006). "The Burden of Historical Representation: Race, Freedom, and “Educational” Hollywood Film", Film and History: An Interdisciplinary Journal of Film and Television Studies, 36 (1), 26-35.
  • Suri, R., Sheth, J., Sun, Q. ve Gebauer, S., (2003). "Do Emotional Appeals Work for All Products? A Meta-analysis of Advertising Context and Moderators", Journal of Marketing, 67(2), 15-28.
  • Taylor, J. R., (2003). The Penguin Dictionary of the Theatre. London: Penguin Books.
  • Thompson, K. ve Bordwell, D., (2003). Film History: An Introduction. Boston: McGraw-Hill.
  • Tzanelli, R., (2019). Cinematic Tourist Mobilities and the Plight of Development. London: Routledge.
  • Van Dijck, J., (2013). The Culture of Connectivity: A Critical History of Social Media. New York: Oxford University Press.
  • Van Riper, A. B., (2011). "Science and Technology in World War II: The Office of Scientific Research and Development", Journal of the History of Technology, 32, 110-133.
  • Watkins, E., (2022). "Film, Propaganda, and the American Mind", The Atlantic, https://www.theatlantic.com/entertainment/archive/2022/07/american-propaganda-films-top-gun/670534/., 30.04.2023.
  • Webb, J., (2008). "Masculinity, Cinema, and the Military: Images of United States Servicemen", Journal of Military History, 72 (2), 543-570.
  • Williams, J., (2002). "American Cinema in The 20th Century: Politics and Patriotism", Journal of American History, 98 (1), 33-55.
  • Wright, E. ve Larsen, H., (2020). "Hollywood and the Cold War: Comparing Representations in Mainstream Film and TV", Journal of Popular Film and Television, 48 (2), 71-85.

EĞLENCE OLARAK SAVAŞ VE SAVAŞIN ESTETİZE EDİLMESİ: SAVAŞ TEMALI FİLMLERİN ETKİSİ

Yıl 2024, Cilt: 12 Sayı: 1, 1 - 19, 03.07.2024
https://doi.org/10.52122/nisantasisbd.1345854

Öz

Savaşın filmler aracılığıyla estetize edilmesi, yani şiddetin bir eğlence aracı olarak sunulması ve hatta yüceltilmesi savaşın karakteri gereği gerçekte acımasız ve kötü olması sebebiyle tartışmalı bir konudur. Savaş filmlerinde olay örgüsü, karakterlerin kahramanlıkları ve heyecan verici müzikler ile eğlence duygusu yaratılmakta ve böylelikle bir takım siyasi saiklerle halkın savaş algısı şekillendirilmeye çalışılmaktadır. Genellikle insanlar söz konusu filmler aracılığıyla savaşa dair maceracı ya da romantik hislere kapılmakta; kısaca şiddet bir eğlence kültürüne dönüşmektedir. Bu çalışma, savaş temalı filmler ile savaşın bir eğlence olarak estetize edilmesi arasındaki ilişkiyi ve ABD’nin uluslararası siyasetinin tarihsel dönemleri ile Amerikan savaş temalı filmleri ve filmlerdeki tasvirler arasında bir ilişki olup olmadığını incelemeyi amaçlamıştır. Çalışmada yöntem olarak içerik analizi kullanılmış, Soğuk Savaş döneminden, Arap Baharı sonrasına kadar olan süreçte gösterime giren Amerika Birleşik Devletleri kökenli filmler arasından ve her döneme bir film karşılık gelecek şekilde “Top Gun, Black Hawk Down, 12 Strong ve Top Gun: Maverick” filmleri seçilmiştir.

Kaynakça

  • Alford, M., (2016). "The Political Impact of the Department of Defense on Hollywood Cinema", Quarterly Review of Film and Video, 33 (4), 332-347.
  • Allmovie (2023a). "Top Gun", https://www.allmovie.com/movie/top-gun-v50435., 01.03.2023.
  • Allmovie (2023b). "Black Hawk Down", https://www.allmovie.com/movie/black-hawk-down-v257740., 02.03.2023.
  • Allmovie (2023c). "12 Strong", https://www.allmovie.com/movie/12-strong-v681695., 02.03.2023.
  • Allmovie (2023d). "Top Gun Maverick", https://www.allmovie.com/movie/top-gun-maverick-v638141., 02.03.2023.
  • Azza, S. Y. ve Prihatika, Y. D., (2021). "Sinematik Teror: Eksepsionalisme Amerika Dan Propaganda Anti-Islam Dalam Film 12 Strong", Haluan Sastra Budaya, 5 (2), 221-242.
  • Bautista, E. R., (1991). "A Study of The Relationship of Movies and Military Recruitment", Oklahoma State University Faculty of the Graduate College, https://shareok.org/bitstream/handle/11244/13662/Thesis-1991-B352s.pdf?sequence=1., 07.01.2024.
  • Bender, S. M., (2014). "Blood Splats and Bodily Collapse: Reported Realism and the Perception of Violence in Combat Films and Video Games", Projections: The Journal for Movies and Mind, 8 (2), 1-25.
  • Beyazperde (2023). "12 Strong", https://www.beyazperde.com/filmler/film-181056/., 03.03.2023.
  • Boggs, C. ve Pollard, T., (2016). The Hollywood War Machine: U.S. Militarism and Popular Culture. New York: Routledge.
  • Box Office Mojo (2023). "Top Lifetime Grosses", https://www.boxofficemojo.com/chart/top_lifetime_gross/?area=XWW., 30.04.2023.
  • Breazu, R., (2022). "The Aestheticization of Violence in Images", Philosophia, 51, 33-52.
  • Bronfen, E., (2012). Specters of War: Hollywood's Engagement with Military Conflict. New Brunswick: Rutgers University Press.
  • Carlos, J. C., (2019). "Susanne K. Langer and the Definition of Art", Eidos: A Journal for Philosophy of Culture, 3 (1), 92-103.
  • Carter, S. ve Klaus, D., (2014). International Politics and Film: Space, Vision, Power. London: Wallflower.
  • Child, N., Hanson, B., Bishop, M., Rinaldi, C. A., Bostock, J., Western, D., Taggart, P. (2014). "Effect of Mental Challenge Induced by Movie Clips on Action Potential Duration in Normal Human Subjects Independent of Heart Rate", Circulation: Arrhythmia and Electrophysiology, 7(3), 518-523. doi:https://doi.org/10.1161/CIRCEP.113.000909.
  • Chouliaraki, L., (2006). "The Aestheticization of Suffering on Television", Visual Communication, 5(3), 261-285.
  • Dalby, S., (2008). "Warrior geopolitics: Gladiator, Black Hawk Down and The Kingdom Of Heaven", Political Geography, 27, 439-455.
  • Eberwein, R., (2010). The Hollywood War Film. West Sussex: Wiley-Blackwell.
  • Fanti, K. A., Vanman, E., Henrich, C. C., ve Avraamides, M. N. (2009). "Desensitization to Media Violence Over a Short Period", Aggressive Behavior, 35(2), 179-187. doi:https://doi.org/10.1002/ab.20295.
  • Gagaridis, A., (2017). "Reaganism in Tony Scott’s Top Gun", Cultures & Relations Internationales, http://cecrilouvain.be/wp-content/uploads/2018/01/1CRI-1.pdf., 30.04.2023.
  • Gasbarri, F., (2018). "From the Sands of the Ogaden to Black Hawk Down: The End of the Cold War in the Horn of Africa", Cold War History, 18 (1), 73-89.
  • Gleiberman, O., (2018). "Film Review: 12 Strong", https://variety.com/2018/film/reviews/12-strong-review-chris-hemsworth-1202666345/., 10.04.2023.
  • Godfrey, R., (2009). "Military, masculinity and mediated representations: (con)fusing the real and the reel", Culture and Organization, 15 (2), 203-220.
  • Gozalo-Salellas, I. ve Dapena, X., (2020). "Aestheticization of Politics and the War Machine in No by Pablo Larrain", Hatry, L. (ed.), ReFocus: The Films of Pablo Larrain içinde, Edinburgh: Edinburgh University Press, 131-146.
  • Grant, B. K., (2007). Film Genre: From Iconography to Ideology. London: Wallflower.
  • Harman, S., (2019). Seeing Politics: Film, Visual Method, and International Relation. Québec: McGill-Queen's University Press.
  • History vs Hollywood (2023). "12 Strong", https://www.historyvshollywood.com/reelfaces/12-strong/., 20.03.2023.
  • Hunt, A., (2022). "How the US Military Gave Notes on Top Gun: Maverick", GQ, https://www.gq.com/story/top-gun-maverick-military-advisor-interview., 30.04.2023.
  • Imdb (2023a). "Top Gun", https://www.imdb.com/title/tt0092099/., 02.03.2023.
  • Imdb (2023b). "Black Hawk Down", https://www.imdb.com/title/tt0265086/., 02.03.2023.
  • Imdb (2023c). "12 Strong", https://www.imdb.com/title/tt1413492/., 02.03.2023.
  • Imdb (2023d). "Top Gun Maverick", https://www.imdb.com/title/tt1745960/., 02.03.2023.
  • Jenkins, T., (2012). The CIA in Hollywood: How the Agency Shapes Film and Television. Austin: University of Texas Press.
  • Jones, S. ve Dawkins, S., (2018). "Walking in Someone Else's Shoes: Creating Emphaty in the Practice of Immersive Film", Media Practice and Education, 19 (3), 298-312.
  • Kampmark, B., (2022). "Top Gun: Maverick The Pentagon Recruitment Drive", Dissident Voice, https://www.proquest.com/docview/2679447487?pq-origsite=summon., 22.03.2023.
  • Kleinen, J., (2003). "Framing the Other. A Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese", Asia Europe Journal, 1, 433-451.
  • Klien, S. A., (2005). "Public Character and the Simulacrum: The Construction of the Soldier Patriot and Citizen Agency in Black Hawk Down", Critical Studies in Media Communication, 22 (5), 427-449.
  • Krippendorff, K., (2019). Content Analysis: An Introduction to Its Methodology (4. b.). Los Angeles: SAGE Publications.
  • Lamar, J. V. Jr., (1986). "The Pentagon Goes Hollywood", Time, https://content.time.com/time/subscriber/article/0,33009,962933,00.html., 22.03.2023.
  • Letterboxd (2023a). "Top Gun", https://letterboxd.com/film/top-gun/., 02.03.2023.
  • Letterboxd (2023b), "Black Hawk Down", https://letterboxd.com/film/black-hawk-down/., 02.03.2023.
  • Letterboxd (2023c). "12 Strong", https://letterboxd.com/film/12-strong/., 02.03.2023.
  • Letterboxd (2023d). "Top Gun Maverick", https://letterboxd.com/film/top-gun-maverick/., 02.03.2023.
  • Loia, D., (2022). "The Empire Cannot Die: Propaganda and Immortality in Top Gun: Maverick", New Blackfriars, Vol. 103, 1108, 713-729.
  • Maffei, A. ve Alessandro, A., (2019). "E-Movie - Experimental Movies for Induction of Emotions in Neuroscience: An Innovative Film Database with Normative Data and Sex Differences", Plos One, 14 (10).
  • Mangolin, R. B.; Pereira, C.; Silva, M.; Monteiro, M. ve Knoblich, G. (2017). "The Musical Emotional Bursts (MEB) Dataset: A New Set of Stimuli to Induce Affective Responses", Frontiers in Psychology, Vol. 8, No. 12, 21-34.
  • Martini, E. ve Kerkhof, P., (2017). "Real-time Interpersonal Media Use, Relationship Quality, and Well-being: A Review of Research from Computer-Mediated Communication, Media Psychology, and Communication Neuroscience", Communication Monographs, Vol. 84, No. 4, 433-456.
  • Mihalache, M., (2019). "The Spectacle of Violence: Fascination and Aversion in Italian Cinema of the 1970s", Media and Communication, 7 (4), 181-190.
  • Monaco, J., (2009). How to Read a Film: Movies, Media, and Beyond. New York: Oxford University Press.
  • Murray, S., (2003). "Military Families and Media", Electronic Journal of Communication, Vol. 13, 1-15.
  • Neta, M., Norris, C. ve Whalen, P. J., (2009). "Corrugator Muscle Responses Are Associated with Individual Differences in Positivity–Negativity Bias", Emotion, 9 (5), 640-648.
  • Newman, K. ve Levine, E., (2012). Legitimating Television: Media Convergence and Cultural Status. New York: Routledge.
  • Nezlek, J. B., Feist, G. J., Wilson, T. ve Plesko, R. (2001). "Day-to-day variability in empathy as a function of daily events and mood", Journal of Research in Personality, 35(4), 401-423. doi:https://doi.org/10.1006/jrpe.2001.2323.
  • Pollard, T. ve Boggs, C., (2017). "Hollywood and the Spectacle of Terrorism", New Political Science, 39 (4), 529-546.
  • Power, M., (2007). The Film Factory: Russian and Soviet Cinema in Documents 1896-1939. New York: Routledge.
  • Pratkanis, A., (2001). "Propaganda and Persuasion", The Encyclopedia of Political Communication, Sage, 119-122.
  • Robinson, P., (2007). "Research-based Policy: Using Evidence for Accountability, Governance, and Performance", Public Administration Review, 67 (4), 533-545.
  • Schickel, R., (2001). "A Mission Into Hell", Time, https://content.time.com/time/subscriber/article/0,33009,187666,00.html., 22.03.2023.
  • Scott, A. O., (2001). "At War and Loving It", The New York Times, https://www.nytimes.com/2001/12/28/movies/film-review-at-war-and-loving-it.html., 22.03.2023.
  • Seitz, M. Z., (2017). "Why Do We Hate Film Critics?", New York Times Magazine, https://www.nytimes.com/2017/11/28/magazine/why-do-we-hate-film-critics.html., 30.04.2023.
  • Shiel, M., (2012). Hollywood Cinema and the Real Los Angeles. London: Reaktion Books.
  • Smith, M., (2001). Killing the Future: Women and the Millennium. New York: Black Rose Books.
  • Stoddard, J. D. ve Marcus, A. S., (2006). "The Burden of Historical Representation: Race, Freedom, and “Educational” Hollywood Film", Film and History: An Interdisciplinary Journal of Film and Television Studies, 36 (1), 26-35.
  • Suri, R., Sheth, J., Sun, Q. ve Gebauer, S., (2003). "Do Emotional Appeals Work for All Products? A Meta-analysis of Advertising Context and Moderators", Journal of Marketing, 67(2), 15-28.
  • Taylor, J. R., (2003). The Penguin Dictionary of the Theatre. London: Penguin Books.
  • Thompson, K. ve Bordwell, D., (2003). Film History: An Introduction. Boston: McGraw-Hill.
  • Tzanelli, R., (2019). Cinematic Tourist Mobilities and the Plight of Development. London: Routledge.
  • Van Dijck, J., (2013). The Culture of Connectivity: A Critical History of Social Media. New York: Oxford University Press.
  • Van Riper, A. B., (2011). "Science and Technology in World War II: The Office of Scientific Research and Development", Journal of the History of Technology, 32, 110-133.
  • Watkins, E., (2022). "Film, Propaganda, and the American Mind", The Atlantic, https://www.theatlantic.com/entertainment/archive/2022/07/american-propaganda-films-top-gun/670534/., 30.04.2023.
  • Webb, J., (2008). "Masculinity, Cinema, and the Military: Images of United States Servicemen", Journal of Military History, 72 (2), 543-570.
  • Williams, J., (2002). "American Cinema in The 20th Century: Politics and Patriotism", Journal of American History, 98 (1), 33-55.
  • Wright, E. ve Larsen, H., (2020). "Hollywood and the Cold War: Comparing Representations in Mainstream Film and TV", Journal of Popular Film and Television, 48 (2), 71-85.
Toplam 74 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Siyasi Coğrafya
Bölüm Araştırma Makalesi
Yazarlar

Ali Gök 0000-0002-0734-459X

Göksel Türker 0000-0003-3589-8271

Yayımlanma Tarihi 3 Temmuz 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 12 Sayı: 1

Kaynak Göster

APA Gök, A., & Türker, G. (2024). EĞLENCE OLARAK SAVAŞ VE SAVAŞIN ESTETİZE EDİLMESİ: SAVAŞ TEMALI FİLMLERİN ETKİSİ. Nişantaşı Üniversitesi Sosyal Bilimler Dergisi, 12(1), 1-19. https://doi.org/10.52122/nisantasisbd.1345854

Nişantaşı Üniversitesi kurumsal yayınıdır.