2000 sonrası Amerikan post-apokaliptik bilimkurgu sinemasında kıyamet ideolojisi
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Dosyalar
Tarih
2018
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Ege Üniversitesi, Sosyal Bilimleri Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
İkinci Dünya Savaşı ardından yoğun bir şekilde üretilen post-apokaliptik filmler, savaş sonrası toplumun geleceğe bakışını şekillendirmede büyük bir etkiye sahiptir. Dünya çapında gerçekleşmiş büyük bir yıkım ve felaket anlamına gelen apokalips terimiyle ilişkili biçimde, post-apokaliptik filmler bilimkurgu sinemasında felaket sonrası dünyayı konu alan bir alt türdür. Nükleer savaş, savaş, yapay zekâ tehlikesi, uzaylı istilası, çevresel felaketler, virüs, kirlilik ve küresel ısınma gibi çeşitli felaketlerin gerçekleşme olasılıklarının artması bu türdeki filmlere dönük ilginin artmasına, blockbuster olarak tabir edilen büyük bütçeli, büyük gelir getirmeyi hedefleyen filmlerin yapımında bir ilgiye neden olmuştur. Geleceğe dönük büyük çaplı korkuların filmlerdeki yansımasına yoğunlaşan bu çalışma, 2000 sonrası Amerikan post-apokaliptik bilimkurgu sinemasındaki kıyamet ideolojisinin özelliklerini anlamayı, bu özelliklerin çeşitli makro, mikro ve üst ideolojilerle ilişkisini açığa çıkarmayı ve bu filmlere bir değer verme imkânı verecek biçimde mitten uzaklaşma mı yoksa mite dönüşü mü savunduklarını ortaya koymayı amaçlamaktadır. K. Koch'un kıyamet ideolojisi özelliklerini, L. Giannetti'nin ideolojik ve D. Suvin'in mitsel analizini, sistematik ve bütünsel bir biçimde bir araya getiren çalışma, bu yöntemsel çerçeve içinde çalışma evreninden seçilen sekiz adet filmi örnekleme almış ve incelemiştir. Bu filmler, Matrix (Wachowski Kardeşler, 1999, 2003), A.I. Artificial Intelligence (Steven Spielberg, 2001), Wall-E (Andrew Stanton, 2008), The Hunger Games serisi (Gary Ross, 2012; Francis Lawrence, 2013, 2014, 2015), Oblivion (Joseph Kosinski, 2013), Interstellar (Christopher Nolan, 2014), Mad Max: Fury Road (George Miller, 2015) ve Planet of the Apes (Matt Reeves, 2014, 2017) serisidir. İnceleme sonucunda filmlerdeki kıyamet ideolojisinin, filmin etkileşime girdiği ve söylemsel olarak yücelttiği makro ve mikro ideolojiye göre değiştiği gözlenmiştir. Filmlerde ağırlıkla sol liberal, merkezci ideolojiler öne çıkarken, feminist vurgular taşıyan filmlerin yanı sıra muhafazakâr filmler de bulunmaktadır. Gösteri toplumuna, giderek sanallaşan ve simülasyon haline gelen toplumsal yaşama ve tüketim kültürüne, karşı şüpheler öne çıkmaktadır. Filmlerdeki artan muhafazakârlık ile distopik ton ve mite dönüş eğiliminin artışında bir paralellik söz konusudur. Genel olarak filmlerin yıkım olgusunu çağdaş toplumsal yaşamdaki sorunların bir dışavurumu ve çözümü olarak tasarladığı buna göre de yeni bir toplumsal yapılanma sunmaya çalıştığı tespit edilmiştir.
Post-apocalyptic films, which have been made extensively after the Second World War, have a great influence on shaping the future vision of the post-war society. Post-apocalyptic films, derived from the term apocalypse which means a world-wide devastation and disaster, are a sub-genre focused on the post-disaster world in the science fiction genre. The increasing likelihood of a variety of disasters, such as nuclear warfare, danger of artificial intelligence related disasters, alien invasion, environmental disasters, viruses, pollution and global warming, has led to an excitement in the making of large-budget, large-income targeting films labelled as blockbuster. Focusing on the reflection of future-oriented big-scale fears in films, this study aims to understand the features of the apocalyptic ideology of American post-apocalyptic sci-fi cinema after 2000, to clarify these features in relation to various macro, micro and supra ideologies. Thus, these films are aimed to reveal the deflection of the myth or the return of the myth in such a way as to give an appreciation to them. The work that brought together the ideological analysis of K. Koch's apocalypticism, L. Giannetti's ideological analysis and D. Suvin's mythical analysis in a systematic and holistic way, sampled and examined eight films chosen from the working universe within this methodical framework. These films are the Matrix (Wachowski Brothers, 1999, 2003), A.I. Artificial Intelligence (Steven Spielberg, 2001), Wall-E (Andrew Stanton, 2008), The Hunger Games series (Gary Ross, 2012; Francis Lawrence, 2013, 2014, 2015), Oblivion (Joseph Kosinski, 2013), Interstellar (ChristopherNolan, 2014), Mad Max: Fury Road (George Miller, 2015), and Planet of the Apes (Matt Reeves, 2014, 2017). As a result of the analysis, it has been observed that the apocalyptic ideology in the movies changes in accordance with the micro and macro ideology with which the movies interact and acclaim. Some of these movies have conservative or feminist inclinations while their dominant stance is pro left-liberal and centrist ideologies. Doubts on the society of spectacle, increasingly virtualized and simulated social life and consumer society stands out. There is a parallelism in the increase of the tendency of dystopic tone and return to myths and increasing conservatism in movies. In general, it has been understood that films are trying to develop a new social structure such that the destruction phenomenon is designed as an expression and solution of the problems in contemporary social life.
Post-apocalyptic films, which have been made extensively after the Second World War, have a great influence on shaping the future vision of the post-war society. Post-apocalyptic films, derived from the term apocalypse which means a world-wide devastation and disaster, are a sub-genre focused on the post-disaster world in the science fiction genre. The increasing likelihood of a variety of disasters, such as nuclear warfare, danger of artificial intelligence related disasters, alien invasion, environmental disasters, viruses, pollution and global warming, has led to an excitement in the making of large-budget, large-income targeting films labelled as blockbuster. Focusing on the reflection of future-oriented big-scale fears in films, this study aims to understand the features of the apocalyptic ideology of American post-apocalyptic sci-fi cinema after 2000, to clarify these features in relation to various macro, micro and supra ideologies. Thus, these films are aimed to reveal the deflection of the myth or the return of the myth in such a way as to give an appreciation to them. The work that brought together the ideological analysis of K. Koch's apocalypticism, L. Giannetti's ideological analysis and D. Suvin's mythical analysis in a systematic and holistic way, sampled and examined eight films chosen from the working universe within this methodical framework. These films are the Matrix (Wachowski Brothers, 1999, 2003), A.I. Artificial Intelligence (Steven Spielberg, 2001), Wall-E (Andrew Stanton, 2008), The Hunger Games series (Gary Ross, 2012; Francis Lawrence, 2013, 2014, 2015), Oblivion (Joseph Kosinski, 2013), Interstellar (ChristopherNolan, 2014), Mad Max: Fury Road (George Miller, 2015), and Planet of the Apes (Matt Reeves, 2014, 2017). As a result of the analysis, it has been observed that the apocalyptic ideology in the movies changes in accordance with the micro and macro ideology with which the movies interact and acclaim. Some of these movies have conservative or feminist inclinations while their dominant stance is pro left-liberal and centrist ideologies. Doubts on the society of spectacle, increasingly virtualized and simulated social life and consumer society stands out. There is a parallelism in the increase of the tendency of dystopic tone and return to myths and increasing conservatism in movies. In general, it has been understood that films are trying to develop a new social structure such that the destruction phenomenon is designed as an expression and solution of the problems in contemporary social life.
Açıklama
Anahtar Kelimeler
Sinema, Bilimkurgu, Post-apokaliptik, Kıyamet İdeolojisi, Felaket, Cinema, Science Fiction, Post-apocalyptic, Apocalypticism, Disaster
