Fransız popüler sinemasında fransız müslümanların temsili ve kültürlerarasılığın inşası
Yükleniyor...
Dosyalar
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Ticaret Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Bu çalışmada inşacı temsil kuramı ve filmlerin sosyo-politik bir anlatı olduğu kavrayışı ile popüler Fransız filmleri, Müslüman temsilini ve nasıl bir kültürlerarasılığın inşa edildiğini ortaya koymak üzere analiz edilmiştir. Filmlerde Müslüman karakterler ve kültürlerarası ilişkilerin inşa edilme biçimi, öykü, karakterler ve imgelerin Sorlin’in takılma noktaları kavramı etrafında incelenmesi ile ortaya konmuştur. Buna göre, özellikle yeme-içme, kıyafet-görünüm, ibadet, ulusalcı sembollerin takılma noktaları olarak filmlerde kültürel kimliği ve kültürel çatışma konularını temsil ettiği tespit edilmiştir. Filmlerde genel olarak kültürel uyuma vurgu yapan ulusal entegrasyon beklentisinin, karışık ya da çapraz evlilik öyküleri ile mizahi bir üslupla işlendiği görülmüştür. Filmlerde inşa edilen kültürlerarasılıkta, marjinal ya da öteki görülen kültürel kimlikler, Fransız kültürü ile uyumlanması oranında kabul ve saygı görmektedir. Müslüman karakterlerin kültürlerarası ilişki ve etkileşimlerdeki rolleri, kendi tikel kültürlerinden gerektiği oranda feragat ederek, önüne geçilemeyen küreselleşme koşullarında Fransız kültürel kimliğinin kaybı ya da aşınması gibi bir endişeye gerek olmadığını kanıtlamaktır.
In this paper popular French films were analyzed to reveal the Muslim representation and what kind of interculturality was built by the theory of constructive representation and the understanding that the films are socio-political narrative. In the study, it is accepted that the films are useful and rich texts for evaluating and understanding modern society and culture. Movies encode complex problems about contemporary forms of cultural identity, such as gender, ethnicity, race and class, and stage representation policies. Cinema is not the entertainment industry that simply reflects the reality outside, it is a political and cultural phenomenon that produces ideological narratives. The films also build cultural representations that make today's social and cultural concerns, power and inequality relationships traceable and legitimate. Social and cultural conflicts in the globalization process, which means increasing intensification of intercultural relations, are processed in all kinds of popular narratives, especially cinema. France is a country where the art of cinema emerged and today it has the most influential cinema industry in the world and European cinema. French cinema, with its distinguished and popular genres, affects trends in world cinema. Popular French cinema is followed by a high number of viewers at the national level and covers current national and international cultural issues. The most current of these problems is how to meet intercultural relations within the scope of globalization. France receives intensive international migration due to its colonial history and being a developed European country. Therefore, France, which has strong national traditions, facesdifferent cultural identity problems. Particularly Muslim population and Islamic culture in France are a major topic of political debate. Political debates around cultural problems caused by this globalization are also reflected in popular French cinema. In this study, films dealing with these intercultural problems are analyzed in popular French cinema. Among the popular films in which intercultural relations are examined, films with Islamic culture and Muslim characters were selected. First of all theoretical framework was created based on the arguments of Hall, Ryan and Kellner regarding representation and cinema. In addition, globalization and interculturality are discussed theoretically. A constructive theoretical perspective has been advocated in both cinema and interculturality. Then cultural diversity in the French society and the French cinema industry were discussed. In the findings section of the research, general information about the nine popular French films selected is given. These are followed by analysis of the selected films in terms of representation. The way in which Muslim characters and intercultural relations are constructed in the films has been demonstrated by examining the story, characters and images based on Sorlin's points of fixation. According to Sorlin, cinema reveals the ideological boundaries of perceptions of a certain period and areas of sensitivity with underlined representation figures. He calls these representative figures “point de fixation”. The points of fixation appear insignificant or secondary and are indicators and symbols with questions, expectations, and concerns. It carries all these cultural signs and symbols from one movie to another. This research has been found to represent the issues of cultural identity and cultural conflict in films, especially as food and beverage, clothing-appearance, worship, and attachment points of nationalist symbols. According to the research findings, the scenarios, stories, dialogues and points of fixation of the French populer films construct a distinctive interculturality and Muslim representation. it is found that especially the food and beverage, clothing-appearance, worship, and nationalist symbols as the points of fixation represents cultural identity and cultural conflict issues in movies. In the intercultural relations of Muslim characters, a Muslim French is constantly faced with the problem of not being a "real" French, even if he/she is a citizen of the country, a respected profession, socio-economically integrated. The main role of Muslim characters in intercultural communication is to prove that there is no need to worry about the loss or erosion of French cultural identity. Muslim characters, Islamic or non-Catholic religious preferences and practices are only acceptable in the films when steps are taken to become French. It is seen that the expectation of national integration that emphasizes cultural harmony in the films is processed by mixed or cross-marriage stories in a humorous style. In the interculturality constructed in films, marginal or other cultural identities are accepted and respected to the extent of their compatibility with French culture. The role of Muslim characters in intercultural relationships and interactions is to renounce their cultural particularities and to prove that there is no need to worry about the loss or erosion of French cultural identity in the globalization conditions that cannot be prevented.
In this paper popular French films were analyzed to reveal the Muslim representation and what kind of interculturality was built by the theory of constructive representation and the understanding that the films are socio-political narrative. In the study, it is accepted that the films are useful and rich texts for evaluating and understanding modern society and culture. Movies encode complex problems about contemporary forms of cultural identity, such as gender, ethnicity, race and class, and stage representation policies. Cinema is not the entertainment industry that simply reflects the reality outside, it is a political and cultural phenomenon that produces ideological narratives. The films also build cultural representations that make today's social and cultural concerns, power and inequality relationships traceable and legitimate. Social and cultural conflicts in the globalization process, which means increasing intensification of intercultural relations, are processed in all kinds of popular narratives, especially cinema. France is a country where the art of cinema emerged and today it has the most influential cinema industry in the world and European cinema. French cinema, with its distinguished and popular genres, affects trends in world cinema. Popular French cinema is followed by a high number of viewers at the national level and covers current national and international cultural issues. The most current of these problems is how to meet intercultural relations within the scope of globalization. France receives intensive international migration due to its colonial history and being a developed European country. Therefore, France, which has strong national traditions, facesdifferent cultural identity problems. Particularly Muslim population and Islamic culture in France are a major topic of political debate. Political debates around cultural problems caused by this globalization are also reflected in popular French cinema. In this study, films dealing with these intercultural problems are analyzed in popular French cinema. Among the popular films in which intercultural relations are examined, films with Islamic culture and Muslim characters were selected. First of all theoretical framework was created based on the arguments of Hall, Ryan and Kellner regarding representation and cinema. In addition, globalization and interculturality are discussed theoretically. A constructive theoretical perspective has been advocated in both cinema and interculturality. Then cultural diversity in the French society and the French cinema industry were discussed. In the findings section of the research, general information about the nine popular French films selected is given. These are followed by analysis of the selected films in terms of representation. The way in which Muslim characters and intercultural relations are constructed in the films has been demonstrated by examining the story, characters and images based on Sorlin's points of fixation. According to Sorlin, cinema reveals the ideological boundaries of perceptions of a certain period and areas of sensitivity with underlined representation figures. He calls these representative figures “point de fixation”. The points of fixation appear insignificant or secondary and are indicators and symbols with questions, expectations, and concerns. It carries all these cultural signs and symbols from one movie to another. This research has been found to represent the issues of cultural identity and cultural conflict in films, especially as food and beverage, clothing-appearance, worship, and attachment points of nationalist symbols. According to the research findings, the scenarios, stories, dialogues and points of fixation of the French populer films construct a distinctive interculturality and Muslim representation. it is found that especially the food and beverage, clothing-appearance, worship, and nationalist symbols as the points of fixation represents cultural identity and cultural conflict issues in movies. In the intercultural relations of Muslim characters, a Muslim French is constantly faced with the problem of not being a "real" French, even if he/she is a citizen of the country, a respected profession, socio-economically integrated. The main role of Muslim characters in intercultural communication is to prove that there is no need to worry about the loss or erosion of French cultural identity. Muslim characters, Islamic or non-Catholic religious preferences and practices are only acceptable in the films when steps are taken to become French. It is seen that the expectation of national integration that emphasizes cultural harmony in the films is processed by mixed or cross-marriage stories in a humorous style. In the interculturality constructed in films, marginal or other cultural identities are accepted and respected to the extent of their compatibility with French culture. The role of Muslim characters in intercultural relationships and interactions is to renounce their cultural particularities and to prove that there is no need to worry about the loss or erosion of French cultural identity in the globalization conditions that cannot be prevented.
Açıklama
Anahtar Kelimeler
Fransız Popüler Sineması, Müslüman Kimliği, Kültürlerarasılık, Temsil, French Popular Films, Muslim Identity, Interculturality, Representation
Kaynak
Intermedia Uluslararası Hakemli İletişim Bilimleri E-Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
7
Sayı
12
