Öztürk, Esra2021-01-122021-01-122020https://hdl.handle.net/11467/4339https://doi.org/10.21645/intermedia.2020.74Bu çalışmada Alman yönetmen Wolfgang Becker tarafından 2003 yılında çekilmiş olan “Good Bye Lenin!” filmi, İtalyan düşünür, siyasetçi ve sosyalist kuramcı Antonia Gramsci’nin hegemonya çözümlemesi bağlamında incelenmiştir. “Good Bye Lenin!”, soğuk savaşın simgelerinden biri olan Berlin Duvarı’nın yıkılmasının ardından meydana gelen toplumsal, siyasal ve ekonomik değişimleri, sosyalizme inanmış bir anne ile oğlu arasındaki ilişki bağlamında ele almıştır. Sosyalist sistemden kapitalist sisteme geçişi gözler önüne seren filmde, her iki sistemin de olumlu ve olumsuz özellikleri işlenmiştir. Gramsci’nin hegemonyası, sivil ve politik toplum ayrımına dayanmaktadır. Toplumu yönetmek için yalnızca baskı ve zorun yeterli olmadığını, kültürel ve ideolojik aygıtların da rıza oluşturmak için kullanılması gerektiğini düşünen Gramsci’nin hegemonya kuramı, rızanın tahakkümü meşrulaştırdığı yönündedir. Filmin görsel, işitsel ve sembolik içerikleri, Gramsci’nin politik toplum-sivil toplum, zor ve rıza araçları, organik aydınlar ve yabancılaşma kavramları çerçevesinde detaylı olarak analiz edilmiştir. Bu bağlamda tüketimin ve onun bileşeni olarak reklamların, bu toplumsal, ekonomik ve siyasal dönüşüm sürecinde kapitalizmin meşruiyetini sağlayan rıza araçları olarak işlev gördüğü sonucuna ulaşılmıştır.The Berlin Wall was built in 1961 to prevent people in East Germany from escaping to West Berlin and has existed for years as a symbol of the Cold War. With the collapse of the wall in 1989, the capitalist economic system began to spread within Democratic Germany, which adopted a socialist economy. After the unification of West and East Germany in 1990, capitalism has now become the dominant economic system worldwide. Many directors in history have produced several films and documentaries about this transition process after the end of the cold war. One of them is the "Good Bye Lenin!" directed by German director Wolfgang Becker in 2003. “Good Bye Lenin!” received numerous honours, including 2003's European Film Award for Best Film and German Film Award for Best Feature Film. “Good Bye Lenin!” addressed the social, political and economic changes that took place after the fall of the Berlin Wall, one of the symbols of the cold war, in the context of the relationship between a mother who believed in socialism and her son. The story follows a family in East Germany; the mother is dedicated to the socialist cause and falls into a coma in October 1989, shortly before the November revolution. When she awakens eight months later in June 1990, her son Alex (Daniel Brühl) attempts to protect her from a fatal shock by concealing the fall of the Berlin Wall and the collapse of communism. In the film, which reveals the transition from the socialist system to the capitalist system, the positive and negative features of both systems are covered. The film is of great importance in terms of both politics and cinema history, as it shows that both systems are not completely flawless. In this study, the movie “Good Bye Lenin!’’ directed by German director Wolfgang Becker's in 2003, was analyzed in the context of hegemony analysis of Italian thinker, politician and socialist theorist Antonia Gramsci. Gramsci's hegemony is based on the distinction between civil and political society. Hegemony is a concept that indicates that an element in a system is superior or dominant than others. Gramsci's hegemony theory, which thinks that only pressure and force are not enough to manage the society and that cultural and ideological devices should be used to create consent, is that consent legitimates domination. Not only political society, but also civil society, cultural and ideological values are important in ensuring the legitimacy of hegemony. Concordantly, the movie “Good Bye Lenin!” offers content worthy of study from Gramsci's point of view, as it is about leaving the place of socialism as an old hegemony to opposing hegemony capitalism. In the scope of the research, the visual, audio and symbolic contents of the film were analyzed in detail within the framework of Gramsci's concepts of political society, civil society, coercion and constent, organic intellectuals and alienation. In this context, it has been concluded that consumption and advertisements as its component function as consent tools that ensure the legitimacy of capitalism in this social, economic and political transition process. In the film, the fact that the tools of consent are excessive, especially after the wall collapses, is an indication that the legitimacy of hegemony is strong and that it can provide the continuity of the system without the need for coercion. However, this is not an indication that capitalism is a stronger system than socialism. Systems can change rapidly as seen in the movie, and people can easily adapt to coercion and consent means. As a matter of fact, it is clearly seen in the film that there are victims in capitalism as well as in socialism. Moreover through its use of nostalgic themes, the “Good Bye Lenin!” has been touted as the most representative example of ostalgie. “Ostalgie” is the impossible desire to combine the past with the present, to preserve the past in the present. In the film, it is an irony that products such as old clothes, newspapers and puzzles belonging to the socialist system are started to be sold as "nostalgia" products in flea markets in the new capitalist system. Many people like Alex try to keep the memory of the old system alive in the new system with the nostalgic items they gather from these flea markets. “In summary, the movie "Good Bye Lenin" did not only aim at stimulating the audience's emotions by focusing on a tragicomic story between a mother and a devoted son on her deathbed. It also revealed the transition process from the socialist system to the capitalist system and the positive and negative sides of both systems. The most important intellectual structure that the film offers to the audience is that it reveals the place of consumption and media as the tools of consent that provided the legitimacy of capitalist hegemony in this transition process.trinfo:eu-repo/semantics/openAccesshegemonyakapitalizmtüketimsivil toplumrıza aracıhegemonycapitalismconsumptioncivil societyconsentArticle71218319010.21645/intermedia.2020.74