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Explore, Display, and Civilize: Colonialism in Documentary Film

Yıl 2014, , 9 - 33, 25.03.2019
https://doi.org/10.32001/sinecine.540753

Öz

The period of total commitment to colonialism coincides with the birth of cinema, and each contributed to the other. This study scrutinizes the use of film for “colonial education,” from early cinema until the Second World War. This form of education, while aiming to popularize the idea of colonialism in the homeland by stimulating interest in the colonies, aimed at the same time to present the homeland to the native population in the colonies, displaying its power, life style, and capacity to civilize. The study includes examples of newsreels that convey information about colonial wars, travelogues shot during expeditions organized by automotive companies, and documentaries intended to reveal the wonders of the colonies. Such films were used to communicate the concept of homo imperialis in the homeland and to win the hearts of natives in the colonies.

Kaynakça

  • Abel, R. (Ed.). (2005). Encyclopedia of Early Cinema. New York: Routledge.
  • Adadag, Ö. (2012). Ulusu Egitmek: Iki Dünya Savaşı Arası Dönemde Egitici Sinema. Ileti-ş-im, 17, 29-61.
  • Ageron, C. R. (1984). L’exposition coloniale de 1931. Mythe républicain ou mythe impérial? P. Nora (Ed.), Les lieux de mémoire. I. La République (s. 561-591). Paris: Gallimard.
  • Aimone, L. & Olmo, C. (1993). Les Expositions universelles, 1851-1900 (P. Olivier, Çev.). Paris: Belin.
  • Audouin-Dubreuil, A. (2002). La croisière jaune. Sur la route de la soie. Grenoble: Glénat.
  • Audouin-Dubreuil, A. (2007). La croisière noire. Sur les traces des explorateurs du XIXe. Grenoble: Glénat.
  • Audouin-Dubreuil, A. (2008). La première traversée du Sahara en autochenille. Sur les pistes de Tombouctou. Grenoble: Glénat.
  • Bancel, N. & Denis, D. (2004). Eduquer: comment devient-on “Homo- imperialis”. P. Blanchard & S. Lemaire (Ed.), Culture imperiale 1931-1961 (s. 93-106). Paris: Autrement.
  • Barlet, O. & Blanchard, P. (2003). Rêver: l’impossible tentation du cinéma colonial. P. Blanchard & S. Lemaire (Ed.), Culture coloniale 1871-1931 (s. 119-136). Paris: Autrement.
  • Ben-Ghiat, R. (2001). Fascist modernities: Italy, 1922–1945. Berkeley/Los Angeles: University of California.
  • Bloom, P. J. (2008). French Colonial Documentary. Mythologies of Humanitarianism. Minneapolis/Londra: University of Minnesota.
  • Bottomore, S. (2007). Filming, Faking and Propaganda: The Origins of the War Film, 1897-1902. (Yayımlanmamış doktora tezi). Utrecht Üniversitesi. http://dspace.library. uu.nl/handle/1874/22650.
  • Burns, J. (2000). Watching Africans Watch Films: Theories of Spectatorship in British Colonial Africa. Historical Journal of Film, Radio and Television, 20(2), 197-211.
  • Chafer, T. & Sackur, A. (2002). Introduction. Promoting the Colonial Idea. Propaganda and Visions of Empire in France. New York: Palgrave.
  • Chapman, J. & Cull, N. J. (2009). Imperialism and Popular Cinema: A Survey. Projecting Empire, Imperialism and Popular Cinema (s. 1-14). New York: I.B. Tauris.
  • Citroën, A. (1932). Allocution. Terre, Air, Mer. La Géographie, LVIII(6), 320-325.
  • Convents, G. (1988). Documentary and Propaganda Before 1914. A View On Early Cinema and Colonial History. Framework, 35, 104-113.
  • De Pastre, B. (2004). Cinéma éducateur et propagande coloniale à Paris au début des années 1930. Revue d’Histoire Moderne et Contemporaine, 51(4), 135-151.
  • D’Espèrey, F. (1932). Allocution. Terre, Air, Mer. La Géographie, LVIII(6), 317-319.
  • Furlough, E. (2002). Une leçon des choses: Tourism, Empire, and the Nation in Interwar France. French Historical Studies, 25(3), 441-473.
  • Gentile, E. (2004). Qu’est-ce que le fascisme. Histoire et Interprétation (P. E. Dauzat, Çev.). Paris: Gallimard / Folio.
  • Girardet, R. (1972). L’idée coloniale en France de 1871 à 1962. Paris: La Table Ronde / Hachette, col. Pluriel.
  • Hay, J. (1987). Popular Film Culture in Fascist Italy: The Passing of the Rex, Bloomington/Indianapolis: Indiana University.
  • Journal officiel (Resmi Gazete) (1920, 20 ve 28 Şubat). 19 ve 27 Şubat tarihli Fransa Senatosu 15. ve 16. oturumları, 149-162 ve 167-187.
  • Le Roy, E. (2001). Le fonds cinématographique colonial aux Archives du filmet du dépôt légal du CNC (France), Journal of Film Preservation, 63, 55-59.
  • MacKenzie, J. M. (1986). Propaganda and Empire: The Manipulation of British Public Opinion,1880–1960. Manchester: Manchester University.
  • Marinone, I. (2008). André Sauvage, un cinéaste oublié. De la Traversée du Grépon à la Croisière jaune. Paris: L’Harmattan.
  • Milza, P. & Berstein, S. (1980). Le Fascisme italien 1919-1945. Paris: Seuil/Points Histoire.
  • Murray Levine, A. J. (2000). Le tourisme Citroën au Sahara (1924-1925). Vingtième Siècle. Revue d’histoire, 68, 95-107.
  • Murray Levine, A. J. (2010). Framing the Nation: Documentary Film in Interwar France, New York/Londra: Continuum.
  • Onclincx, G. (1958). Milieux coloniaux et cinématographie à l’Exposition Internationalede Bruxelles de 1897. Cahiers Bruxellois, 3(4), 287–309.
  • Piault, M. H. (2001). L’exotisme et le cinéma ethnographique: la rupture de La Croisière noire. Journal of Film Preservation, 63, 6-16.
  • Reynaud, P. (1931, 7 Mayıs) Un jour et une nuit à l’Exposition Coloniale. Discours de M. Paul Reynaud. Ministre des Colonies. Les Annales Coloniales.
  • Rice, T. (2009). Africa’s Fighting Men, Colonial Film: Moving Images of the British Empire. http://www.colonialfilm.org.uk/node/180.
  • Shaka, F. O. (1999). Instructional Cinema in Colonial Africa: An Historical Reappraisal. Ufahamu: A Journal of African Studies, 27(1-2-3), 27-47. http://www.escholarship.org/ uc/item/533716nn#page-1.
  • Smyth, R. (1979). The Development of British Colonial Film Policy, 1927- 1939, with Special Reference to Eastand Central Africa. The Journal of African History, 20(3), 437-450.
  • Smyth, R. (1988). The British Colonial Film Unit and sub-Saharan Africa, 1939-1945. Historical Journal of Film, Radio and Television, 8(3), 285- 298.
  • Strebel, E. G. (1976/1977). Primitive Propaganda: The Boer War Films. Sight and Sound, 46(1), 45-47.
  • Toulet, E. (1986). Le cinéma a l’Exposition universelle de 1900. Revue d’histoire moderne et contemporaine, 33(2), 179-209.
  • Vargaftig, N. (2010). Les expositions coloniales sous Salazar et Mussolini (1930-1940). Vingtième Siècle. Revue d’histoire, 4(108), 39-52.
  • Vincenot, E. (2008). Cuba, 1898: le cinéma au service de la guerre. J.-P. Bertin-Maghit (Ed.), Une histoire mondiale des cinémas de propagande (s. 13-26). Paris: Nouveau Monde.
  • Wilder, G. (2001). Framing Greater France Between the Wars. Journal of Historical Sociology, 14(2), 198-225.

SÖMÜRGELERİ TANIYIN, TANITIN, MEDENİLEŞTİRİN: BELGESEL FİLMLERDE SÖMÜRGECİLİK

Yıl 2014, , 9 - 33, 25.03.2019
https://doi.org/10.32001/sinecine.540753

Öz

Sömürgeciliğinin tüm çarklarıyla işlemesi sinemanın doğuşu ile aynı dönemdedir ve ikisinin de bir diğerine katkısı olmuştur. Bu çalışmada ilk döneminden itibaren 2. Dünya Savaşı’na kadar olan dönemde sinemanın “sömürge eğitimi” için kullanımı incelenmiştir. Söz konusu eğitim, bir yandan sömürgelere olan ilgiyi besleyerek sömürgecilik fikrinin metropolde popülerleşmesini, diğer yandan sömürgelerde yerlilere metropolü tanıtmayı, onları metropolün gücü ve yaşam tarzıyla tanıştırmayı ve sömürgeleri “medenileştirmeyi” amaçlamaktadır. Çalışmada, sömürge savaşlarından bilgi aktaran haber filmleri, otomobil şirketlerinin sömürge topraklarına düzenlediği seferlerde çekilen seyahat filmleri, sömürgeleri tanıtmak amacıyla yapılan belgesel filmler gibi farklı örneklerden hareket edilerek sinemanın metropolde “homo emperialis”i biçimlendirmek, sömürgelerde ise yerlilerin kalbini kazanmak için kullanımı incelenmiştir.

Kaynakça

  • Abel, R. (Ed.). (2005). Encyclopedia of Early Cinema. New York: Routledge.
  • Adadag, Ö. (2012). Ulusu Egitmek: Iki Dünya Savaşı Arası Dönemde Egitici Sinema. Ileti-ş-im, 17, 29-61.
  • Ageron, C. R. (1984). L’exposition coloniale de 1931. Mythe républicain ou mythe impérial? P. Nora (Ed.), Les lieux de mémoire. I. La République (s. 561-591). Paris: Gallimard.
  • Aimone, L. & Olmo, C. (1993). Les Expositions universelles, 1851-1900 (P. Olivier, Çev.). Paris: Belin.
  • Audouin-Dubreuil, A. (2002). La croisière jaune. Sur la route de la soie. Grenoble: Glénat.
  • Audouin-Dubreuil, A. (2007). La croisière noire. Sur les traces des explorateurs du XIXe. Grenoble: Glénat.
  • Audouin-Dubreuil, A. (2008). La première traversée du Sahara en autochenille. Sur les pistes de Tombouctou. Grenoble: Glénat.
  • Bancel, N. & Denis, D. (2004). Eduquer: comment devient-on “Homo- imperialis”. P. Blanchard & S. Lemaire (Ed.), Culture imperiale 1931-1961 (s. 93-106). Paris: Autrement.
  • Barlet, O. & Blanchard, P. (2003). Rêver: l’impossible tentation du cinéma colonial. P. Blanchard & S. Lemaire (Ed.), Culture coloniale 1871-1931 (s. 119-136). Paris: Autrement.
  • Ben-Ghiat, R. (2001). Fascist modernities: Italy, 1922–1945. Berkeley/Los Angeles: University of California.
  • Bloom, P. J. (2008). French Colonial Documentary. Mythologies of Humanitarianism. Minneapolis/Londra: University of Minnesota.
  • Bottomore, S. (2007). Filming, Faking and Propaganda: The Origins of the War Film, 1897-1902. (Yayımlanmamış doktora tezi). Utrecht Üniversitesi. http://dspace.library. uu.nl/handle/1874/22650.
  • Burns, J. (2000). Watching Africans Watch Films: Theories of Spectatorship in British Colonial Africa. Historical Journal of Film, Radio and Television, 20(2), 197-211.
  • Chafer, T. & Sackur, A. (2002). Introduction. Promoting the Colonial Idea. Propaganda and Visions of Empire in France. New York: Palgrave.
  • Chapman, J. & Cull, N. J. (2009). Imperialism and Popular Cinema: A Survey. Projecting Empire, Imperialism and Popular Cinema (s. 1-14). New York: I.B. Tauris.
  • Citroën, A. (1932). Allocution. Terre, Air, Mer. La Géographie, LVIII(6), 320-325.
  • Convents, G. (1988). Documentary and Propaganda Before 1914. A View On Early Cinema and Colonial History. Framework, 35, 104-113.
  • De Pastre, B. (2004). Cinéma éducateur et propagande coloniale à Paris au début des années 1930. Revue d’Histoire Moderne et Contemporaine, 51(4), 135-151.
  • D’Espèrey, F. (1932). Allocution. Terre, Air, Mer. La Géographie, LVIII(6), 317-319.
  • Furlough, E. (2002). Une leçon des choses: Tourism, Empire, and the Nation in Interwar France. French Historical Studies, 25(3), 441-473.
  • Gentile, E. (2004). Qu’est-ce que le fascisme. Histoire et Interprétation (P. E. Dauzat, Çev.). Paris: Gallimard / Folio.
  • Girardet, R. (1972). L’idée coloniale en France de 1871 à 1962. Paris: La Table Ronde / Hachette, col. Pluriel.
  • Hay, J. (1987). Popular Film Culture in Fascist Italy: The Passing of the Rex, Bloomington/Indianapolis: Indiana University.
  • Journal officiel (Resmi Gazete) (1920, 20 ve 28 Şubat). 19 ve 27 Şubat tarihli Fransa Senatosu 15. ve 16. oturumları, 149-162 ve 167-187.
  • Le Roy, E. (2001). Le fonds cinématographique colonial aux Archives du filmet du dépôt légal du CNC (France), Journal of Film Preservation, 63, 55-59.
  • MacKenzie, J. M. (1986). Propaganda and Empire: The Manipulation of British Public Opinion,1880–1960. Manchester: Manchester University.
  • Marinone, I. (2008). André Sauvage, un cinéaste oublié. De la Traversée du Grépon à la Croisière jaune. Paris: L’Harmattan.
  • Milza, P. & Berstein, S. (1980). Le Fascisme italien 1919-1945. Paris: Seuil/Points Histoire.
  • Murray Levine, A. J. (2000). Le tourisme Citroën au Sahara (1924-1925). Vingtième Siècle. Revue d’histoire, 68, 95-107.
  • Murray Levine, A. J. (2010). Framing the Nation: Documentary Film in Interwar France, New York/Londra: Continuum.
  • Onclincx, G. (1958). Milieux coloniaux et cinématographie à l’Exposition Internationalede Bruxelles de 1897. Cahiers Bruxellois, 3(4), 287–309.
  • Piault, M. H. (2001). L’exotisme et le cinéma ethnographique: la rupture de La Croisière noire. Journal of Film Preservation, 63, 6-16.
  • Reynaud, P. (1931, 7 Mayıs) Un jour et une nuit à l’Exposition Coloniale. Discours de M. Paul Reynaud. Ministre des Colonies. Les Annales Coloniales.
  • Rice, T. (2009). Africa’s Fighting Men, Colonial Film: Moving Images of the British Empire. http://www.colonialfilm.org.uk/node/180.
  • Shaka, F. O. (1999). Instructional Cinema in Colonial Africa: An Historical Reappraisal. Ufahamu: A Journal of African Studies, 27(1-2-3), 27-47. http://www.escholarship.org/ uc/item/533716nn#page-1.
  • Smyth, R. (1979). The Development of British Colonial Film Policy, 1927- 1939, with Special Reference to Eastand Central Africa. The Journal of African History, 20(3), 437-450.
  • Smyth, R. (1988). The British Colonial Film Unit and sub-Saharan Africa, 1939-1945. Historical Journal of Film, Radio and Television, 8(3), 285- 298.
  • Strebel, E. G. (1976/1977). Primitive Propaganda: The Boer War Films. Sight and Sound, 46(1), 45-47.
  • Toulet, E. (1986). Le cinéma a l’Exposition universelle de 1900. Revue d’histoire moderne et contemporaine, 33(2), 179-209.
  • Vargaftig, N. (2010). Les expositions coloniales sous Salazar et Mussolini (1930-1940). Vingtième Siècle. Revue d’histoire, 4(108), 39-52.
  • Vincenot, E. (2008). Cuba, 1898: le cinéma au service de la guerre. J.-P. Bertin-Maghit (Ed.), Une histoire mondiale des cinémas de propagande (s. 13-26). Paris: Nouveau Monde.
  • Wilder, G. (2001). Framing Greater France Between the Wars. Journal of Historical Sociology, 14(2), 198-225.
Toplam 42 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makale
Yazarlar

Özgür Adadağ Bu kişi benim

Yayımlanma Tarihi 25 Mart 2019
Yayımlandığı Sayı Yıl 2014

Kaynak Göster

APA Adadağ, Ö. (2019). SÖMÜRGELERİ TANIYIN, TANITIN, MEDENİLEŞTİRİN: BELGESEL FİLMLERDE SÖMÜRGECİLİK. Sinecine: Sinema Araştırmaları Dergisi, 5(2), 9-33. https://doi.org/10.32001/sinecine.540753

sinecine TR DİZİN ve FIAF tarafından taranmaktadır.