{"id":1055,"date":"2015-04-17T11:38:21","date_gmt":"2015-04-17T08:38:21","guid":{"rendered":"http:\/\/insanveinsan.org\/?p=1055"},"modified":"2018-04-09T23:33:07","modified_gmt":"2018-04-09T20:33:07","slug":"ikinci-dunya-savasi-sonrasi-polonya-sinemasinda-milliyetci-muhafazakar-bir-yonetmen-andrzej-wajda","status":"publish","type":"post","link":"https:\/\/www.insanveinsan.org\/en\/ikinci-dunya-savasi-sonrasi-polonya-sinemasinda-milliyetci-muhafazakar-bir-yonetmen-andrzej-wajda\/","title":{"rendered":"A Nationalist-Conservative Director in Polish Cinema After the Second World War: Andrzej Wajda"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: justify;\"><strong>Abstract: <\/strong>This study attempts to review the political view of Andrzej Wajda who is one of the best known film director of Poland cinema. I analyze Wajda\u2019s films, Danton, Les Possedes and Katyn in order to understand his nationalist and conservative attitude. First, I briefly evaluate the meaning of nationalism and conservatism, and then consider his life story and filmography. Yet, I mainly concentrate on those films Danton, Les Possedes and Katyn in the context of the relationship between nationalism and conservatism. Basic argument of the article is that Andrzej Wajda has a nationalist and conservative political tendency which stands against both Nazism and Socialism, and the Enlightenment ideas which to some extend rooted in these ideologies.<\/p>\n<p style=\"text-align: justify;\"><strong>Keywords: <\/strong> Andrzej Wajda, Polish cinema, nationalism, conservatism, enlightenment values.<\/p>\n<h1>\u0130kinci D\u00fcnya Sava\u015f\u0131 Sonras\u0131 Polonya Sinemas\u0131nda Milliyet\u00e7i Muhafazak\u00e2r Bir Y\u00f6netmen: Andrzej Wajda<\/h1>\n<p style=\"text-align: justify;\"><strong>\u00d6zet: <\/strong> Bu \u00e7al\u0131\u015fma Polonya sinemas\u0131n\u0131n d\u00fcnya \u00e7ap\u0131nda \u00fcn kazanm\u0131\u015f y\u00f6netmenlerinden biri olan Andrzej Wajda\u2019n\u0131n politik g\u00f6r\u00fc\u015flerini g\u00f6zden ge\u00e7irmeyi ama\u00e7lamaktad\u0131r. \u00c7ekti\u011fi filmlerle milliyet\u00e7i ve muhafazak\u00e2r bir tutum benimseyen Andrzej Wajda\u2019n\u0131n bak\u0131\u015f\u0131n\u0131 anlamak i\u00e7in Danton, Ecinniler ve Katyn isimli filmleri incelenecektir. Wajda\u2019n\u0131n politik duru\u015funu ortaya koyabilmek i\u00e7in \u00f6nce milliyet\u00e7ilik ve muhafazak\u00e2rl\u0131k kavramlar\u0131 de\u011ferlendirilecek, ard\u0131ndan Wajda\u2019n\u0131n hayat\u0131 ve filmografisi \u00fczerinde durulacakt\u0131r. Esas olarak Danton, Ecinniler ve Katyn filmleri ele al\u0131nacakt\u0131r. \u00c7al\u0131\u015fman\u0131n temel tezi Andrzej Wajda\u2019n\u0131n belli \u00f6l\u00e7\u00fcde ayd\u0131nlanma de\u011ferlerini miras alan Nazizm ve sosyalizme kar\u015f\u0131 Polonya milliyet\u00e7isi ve muhafazak\u00e2r de\u011ferleri \u00f6n plana \u00e7\u0131karan bir yakla\u015f\u0131m ortaya koydu\u011fu y\u00f6n\u00fcndedir.<\/p>\n<p style=\"text-align: justify;\"><strong>Anahtar kelimeler: <\/strong> Andrzej Wajda, Polonya sinemas\u0131, Milliyet\u00e7ilik, Muhafazak\u00e2rl\u0131k, Ayd\u0131nlanma de\u011ferleri.<\/p>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>S\u00fcleyman SIDAL<\/p>\n<hr \/>\n<p><a href=\"https:\/\/doi.org\/10.29224\/insanveinsan.279990\">DOI: 10.29224\/insanveinsan.279990<\/a><\/p>\n<hr \/>\n<p><a title=\"Issue 4, Spring 2015\" href=\"http:\/\/insanveinsan.org\/en\/sayi-4-bahar-2015\/\">Issue 4, Spring 2015<\/a><\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-119 size-full\" src=\"http:\/\/insanveinsan.org\/wp-content\/uploads\/pdf-e1407190133528.png\" alt=\"\" width=\"50\" height=\"50\" \/><br \/>\nTam metin \/ Full text<br \/>\n(Turkish)<\/p>\n<p><a rel=\"license\" href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/\"><img decoding=\"async\" alt=\"Creative Commons License\" style=\"border-width:0\" src=\"https:\/\/i.creativecommons.org\/l\/by-nc\/4.0\/80x15.png\" \/><\/a><br \/>This work is licensed under a <a rel=\"license\" href=\"http:\/\/creativecommons.org\/licenses\/by-nc\/4.0\/\">Creative Commons Attribution-NonCommercial 4.0 International License<\/a>.<\/p>\n<div style=\"width: 230px;\">\n<div style=\"float: left; width: 20px;\"><i class=\"fa fa-eye\" aria-hidden=\"true\"><\/i><\/div>\n<div style=\"float: left; width: 45px;\">[post-views]<\/div>\n<div style=\"float: left; width: 20px;\"><i class=\"fa fa-download\" aria-hidden=\"true\"><\/i><\/div>\n<div style=\"float: left; width: 145px;\">[sdm-download-counter id=\"2012\"]<\/div>\n<p> <br style=\"clear: left;\" \/>\n<\/div>\n[sdm_download id=\"2012\" fancy=\"0\" new_window=\"1\" color=\"grey\"]\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1055","post","type-post","status-publish","format-standard","hentry","category-sayi-4-bahar-2015"],"_links":{"self":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/1055","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/comments?post=1055"}],"version-history":[{"count":0,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/1055\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/media?parent=1055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/categories?post=1055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/tags?post=1055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}