{"id":651,"date":"2015-02-10T11:22:45","date_gmt":"2015-02-10T09:22:45","guid":{"rendered":"http:\/\/insanveinsan.org\/?p=651"},"modified":"2018-04-09T23:38:43","modified_gmt":"2018-04-09T20:38:43","slug":"asya-politik-sinemasi-uzerine-notlar","status":"publish","type":"post","link":"https:\/\/www.insanveinsan.org\/en\/asya-politik-sinemasi-uzerine-notlar\/","title":{"rendered":"Notes on Asian Political Cinema"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: justify;\"><strong>Abstract: <\/strong>Cinema does not stay indifferent to the society and the factors effecting it and does not abstain from the duty for reflecting the life by means of every language and every form like the other branches of art does. Cinema\u2019s process of introducing society by reflecting it to itself and criticizing society varies from region to region and culture to culture. In addition to the fact that cinema led a multidimensional life in different forms and languages after it spread around the world with the cinematography of Lumiere Brothers, it can be said that it still conserves its diversity and richness.<br \/>\nAsian political cinema can be considered as one of the most original cinema in the context of the relationship between social movements and cinema. Asian filmmakers used different forms of the cinema while choosing the social movements and political changes in their own countries as a topic in their movies. Especially, the movies produced by filmmakers from Middle East, which is at the core of attention nowadays, about how filmmakers observe society and how society should konow themselves are being followed curiously all around the world.<br \/>\nIn this study, Asian political cinema will be analyzed in the context of leading countries in this field by focusing on the historical developments in those countries. The effect of the Russian cinema on its periphery, the original features of the Iranian cinema and the reasons why it has become prominent, and eventually the relationship between these schools and their counterparts in the western world will be discussed.<br \/>\n<strong>Keywords: <\/strong>Political cinema, Asian cinema, socio-political condition<\/p>\n<h1>Asya Politik Sinemas\u0131 \u00dczerine Notlar<\/h1>\n<p style=\"text-align: justify;\"><strong>\u00d6zet:<\/strong> Sinema, di\u011fer sanat dallar\u0131 gibi, topluma ve onu etkileyen fakt\u00f6rlere kay\u0131ts\u0131z kalmam\u0131\u015f ve hangi bi\u00e7im ya da dil vas\u0131tas\u0131yla olursa olsun ya\u015fama ayna olma vazifesini yerine getirmekten geri durmam\u0131\u015ft\u0131r. Sineman\u0131n toplumu yine kendisine yans\u0131tarak tan\u0131tmas\u0131 ve onu ele\u015ftirmesi b\u00f6lgeden b\u00f6lgeye ve k\u00fclt\u00fcrden k\u00fclt\u00fcre farkl\u0131l\u0131klar g\u00f6stermektedir. Sinema, t\u0131pk\u0131 Lumiere Karde\u015fler\u2019in sinematograf\u0131ndan hareketle d\u00fcnyaya yay\u0131l\u0131p bi\u00e7im ve dil de\u011fi\u015ftirerek ya\u015fam\u0131n\u0131 \u00e7ok y\u00f6nl\u00fc s\u00fcrd\u00fcrd\u00fc\u011f\u00fc gibi, bug\u00fcn de \u00e7e\u015fitlili\u011fini ve zenginli\u011fini muhafaza etmeye devam etmektedir.<br \/>\nAsya politik sinemas\u0131 g\u00fcn\u00fcm\u00fczde toplumsal hareketler ve sinema ili\u015fkisi ba\u011flam\u0131nda en \u00f6zg\u00fcn \u00f6rneklerin ortaya \u00e7\u0131kt\u0131\u011f\u0131 alanlardan birini te\u015fkil etmektedir. Asyal\u0131 sinemac\u0131lar, kendi \u00fclkelerindeki toplumsal hareketlenmeleri veya siyasi de\u011fi\u015fimleri i\u015flerken sineman\u0131n farkl\u0131 anlat\u0131m bi\u00e7imlerini kullanm\u0131\u015flard\u0131r. \u00d6zellikle d\u00fcnyan\u0131n kanayan yaras\u0131 Ortado\u011fu\u2019nun sinemac\u0131lar\u0131n\u0131n toplumu nas\u0131l g\u00f6rd\u00fckleri ve toplumun kendi kendisini nas\u0131l tan\u0131mas\u0131 gerekti\u011fi konusunda yapt\u0131klar\u0131 \u00e7al\u0131\u015fmalar t\u00fcm d\u00fcnyada ilgiyle takip edilmektedir.<br \/>\nBu \u00e7al\u0131\u015fmada, Asya politik sinemas\u0131 \u00f6nde gelen \u00fclkeler baz\u0131nda tek tek incelenerek, b\u00f6lgelerin ve \u00fclkelerin ge\u00e7mi\u015ften g\u00fcn\u00fcm\u00fcze geli\u015fimleri mercek alt\u0131na al\u0131nacakt\u0131r. Rus sinemas\u0131n\u0131n \u00e7evre b\u00f6lgesine etkisi, \u0130ran sinemas\u0131n\u0131n kendine has \u00f6zellikleri ve onu \u00f6ne \u00e7\u0131karan nedenler, son olarak bu ekollerin Bat\u0131l\u0131 \u00f6rneklerle olan ili\u015fkisi tart\u0131\u015f\u0131lacakt\u0131r.<br \/>\n<strong>Anahtar kelimeler: <\/strong>Politik sinema, Asya sinemas\u0131, sosyo-politik durum<\/p>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>Mustafa Ali M\u0130NARLI<br \/>\nBurak YILMAZ<\/p>\n<hr \/>\n<p><a href=\"https:\/\/doi.org\/10.29224\/insanveinsan.279986\">DOI: 10.29224\/insanveinsan.279986<\/a><\/p>\n<hr \/>\n<p><a title=\"Issue 3, Winter 2015\" href=\"http:\/\/insanveinsan.org\/en\/sayi-3-kis-2015\/\">Issue 3, Winter 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=\"2006\"]<\/div>\n<p> <br style=\"clear: left;\" \/>\n<\/div>\n[sdm_download id=\"2006\" fancy=\"0\" new_window=\"1\" color=\"grey\"]\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8],"tags":[],"class_list":["post-651","post","type-post","status-publish","format-standard","hentry","category-sayi-3-kis-2015"],"_links":{"self":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/651","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/comments?post=651"}],"version-history":[{"count":0,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/posts\/651\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/media?parent=651"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/categories?post=651"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.insanveinsan.org\/en\/wp-json\/wp\/v2\/tags?post=651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}