Early Republican Period of Turkey in Yeşilçam Cinema
Among the historical dramas of Yeşilçam Cinema in Turkey, the films that narrate the tales of the Independence War and the Foundation of the Turkish Republic reserve a respectable portion. There are 64 films produced between 1923 and 1974 that represent the historical period. The dominance of nationalist discourses on the historical films to narrate the Indepence War and the Foundation Process in Yeşilçam Cinema broadly reflects the discourse of the official historiography of Turkish Republic. The antagonistic representation of the non-Muslim groups and ethnic diversities in Ottoman society in the historical Yeşilçam films of Independence War would be interpreted through the impact of nationalism in Turkish politics. The prominence of the nationalistic discourses to structure the filmic historiography of the Early Republican Period in Yeşilçam Cinema exhibits the impact of the official state ideology on the culture and society in Turkey until the 90s.
[1] Scognamillo, G. (2010) "Türk Sinema Tarihi" İstanbul: Kabalcı Yayınevi.
[2] Mersin, S. (2011) Kurtuluş Savaşı Filmleri ve Milli Hamaset. Sinesine 2(2), 33-56
[3] Arslan, S. (2011) Cinema in Turkey: A New Critical History. Oxford and New York: Oxford University Press.
[4] Özön, N. (1995) Karagözden Sinemaya Türk Sineması ve Sorunları, Ankara, Kitle Yayınları
[5] Özgüç, Agah. ''Kurtuluş Savaşı Filmleri.'' Antrakt 14 (1992): 12-19
[6] Gurgen Atalay, D. 2018. Historiography of World War II in Contemporary American Cinema. Newcastle upon Tyne: Cambridge Scholars Publishing
[7] Barthes, R. 1977 "Elements of Semiology" Hill & Wang, New York
[8] Carr, E. H., 1990. What is History? London: Penguin Books.
[9] Breisach, E., 1994. Historiography: Ancient, Medieval & Modern. Chicago: The University of Chicago.
[10] White, H., 1975. Metahistory. UK, JHU Press.
[11] Rosenstone, R. A., 1995. The historical film as real history. Film - Historia.Vol. 1 (1). pp. 5-23.
[12] Tomasulo, F. P., 1996. I'll see it when I believe it: Rodney King and the Prison - House of Video, in Persistence of History, pp. 69-91. Sobchack, V., (Ed.). New York: Routledge.
[13] Raack, R. J., 1983. Historiography as Cinematography: A Prolegomenon to film work for historians, The Journal of Contemporary History, 18 (3). pp. 411- 438.
[14] Rosenstone, R. A., 2001. The historical film: Looking at the past in a postliterate age. Landy, M,. (Ed.). The historical film: History and memory in Media. New Brunswick, New Jersey: Rutgers University Press.
[15] Bunia, R., 2010. Diegesis and Representation: Beyond the Fictional World, on the Margins of Story and Narrative. Poetics Today. 31 (4). pp. 679-720.
[16] Oudart. J.P., 1977. Cinema and Suture. Screen. 18 (4). pp. 35-47.
[17] Metz, C., 1975. The Imaginary Signifier. Screen. 16 (2). pp. 14-76
[18] Bordwell, D. & Thompson, K,. 2008. Film Art: An Introduction. USA: University of Wisconsin Press.
[19] Sobchack, T. 1975. Genre film: A classical experience. Literature / Film Quarterly. 3 (3). pp. 196-204.
[20] Peritore, P. N., 1977. Descriptive Phenomenology and Film: An Introduction. Journal of the University and Film Association. 29 (1). pp. 3-6.
[21] Yates, C. S., 2006. A Phenomenological Aesthetics of Cinematic Worlds. Contemporary Aesthetics. 4. pp.1-7.
[22] Laine, T., 2013. Feeling Cinema: Emotional Dynamics in Film Studies. New York: Bloomsbury Publishing
[23] Laine, T., 2006. Cinema as Second Skin. New review of Cinema and Television Studies. 4 (2). pp. 93-106.
[24] Sobchack, V., 1990. "Surge and Splendor": A Phenomenology of the Hollywood Historical Epic. Representations. 29. pp. 24-49. University of California Press.
[25] Kellner, D. 2003. Media Culture: Identity and Politics Between Modern and Postmodern. Routledge. London & Newyork
[26] Scognamillo, G. & Demirhan, M. (2005) "Fantastik Türk Sineması". İstanbul: Kabalcı Yayınevi
[27] Şener, E. 1970. Kurtuluş Savaşı ve Sinemamız. Ahmet Sarı Matbaası. İstanbul.
[28] Bakar, B. 2009 Esaretten Kurtuluş: İtilaf Devletlerinin İstanbul'u Tahliyesi. Muğla Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. Vol 23. Pp.13-58.
[1] Scognamillo, G. (2010) "Türk Sinema Tarihi" İstanbul: Kabalcı Yayınevi.
[2] Mersin, S. (2011) Kurtuluş Savaşı Filmleri ve Milli Hamaset. Sinesine 2(2), 33-56
[3] Arslan, S. (2011) Cinema in Turkey: A New Critical History. Oxford and New York: Oxford University Press.
[4] Özön, N. (1995) Karagözden Sinemaya Türk Sineması ve Sorunları, Ankara, Kitle Yayınları
[5] Özgüç, Agah. ''Kurtuluş Savaşı Filmleri.'' Antrakt 14 (1992): 12-19
[6] Gurgen Atalay, D. 2018. Historiography of World War II in Contemporary American Cinema. Newcastle upon Tyne: Cambridge Scholars Publishing
[7] Barthes, R. 1977 "Elements of Semiology" Hill & Wang, New York
[8] Carr, E. H., 1990. What is History? London: Penguin Books.
[9] Breisach, E., 1994. Historiography: Ancient, Medieval & Modern. Chicago: The University of Chicago.
[10] White, H., 1975. Metahistory. UK, JHU Press.
[11] Rosenstone, R. A., 1995. The historical film as real history. Film - Historia.Vol. 1 (1). pp. 5-23.
[12] Tomasulo, F. P., 1996. I'll see it when I believe it: Rodney King and the Prison - House of Video, in Persistence of History, pp. 69-91. Sobchack, V., (Ed.). New York: Routledge.
[13] Raack, R. J., 1983. Historiography as Cinematography: A Prolegomenon to film work for historians, The Journal of Contemporary History, 18 (3). pp. 411- 438.
[14] Rosenstone, R. A., 2001. The historical film: Looking at the past in a postliterate age. Landy, M,. (Ed.). The historical film: History and memory in Media. New Brunswick, New Jersey: Rutgers University Press.
[15] Bunia, R., 2010. Diegesis and Representation: Beyond the Fictional World, on the Margins of Story and Narrative. Poetics Today. 31 (4). pp. 679-720.
[16] Oudart. J.P., 1977. Cinema and Suture. Screen. 18 (4). pp. 35-47.
[17] Metz, C., 1975. The Imaginary Signifier. Screen. 16 (2). pp. 14-76
[18] Bordwell, D. & Thompson, K,. 2008. Film Art: An Introduction. USA: University of Wisconsin Press.
[19] Sobchack, T. 1975. Genre film: A classical experience. Literature / Film Quarterly. 3 (3). pp. 196-204.
[20] Peritore, P. N., 1977. Descriptive Phenomenology and Film: An Introduction. Journal of the University and Film Association. 29 (1). pp. 3-6.
[21] Yates, C. S., 2006. A Phenomenological Aesthetics of Cinematic Worlds. Contemporary Aesthetics. 4. pp.1-7.
[22] Laine, T., 2013. Feeling Cinema: Emotional Dynamics in Film Studies. New York: Bloomsbury Publishing
[23] Laine, T., 2006. Cinema as Second Skin. New review of Cinema and Television Studies. 4 (2). pp. 93-106.
[24] Sobchack, V., 1990. "Surge and Splendor": A Phenomenology of the Hollywood Historical Epic. Representations. 29. pp. 24-49. University of California Press.
[25] Kellner, D. 2003. Media Culture: Identity and Politics Between Modern and Postmodern. Routledge. London & Newyork
[26] Scognamillo, G. & Demirhan, M. (2005) "Fantastik Türk Sineması". İstanbul: Kabalcı Yayınevi
[27] Şener, E. 1970. Kurtuluş Savaşı ve Sinemamız. Ahmet Sarı Matbaası. İstanbul.
[28] Bakar, B. 2009 Esaretten Kurtuluş: İtilaf Devletlerinin İstanbul'u Tahliyesi. Muğla Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. Vol 23. Pp.13-58.
@article{"International Journal of Business, Human and Social Sciences:78741", author = "Deniz Gürgen Atalay", title = "Early Republican Period of Turkey in Yeşilçam Cinema", abstract = "Among the historical dramas of Yeşilçam Cinema in Turkey, the films that narrate the tales of the Independence War and the Foundation of the Turkish Republic reserve a respectable portion. There are 64 films produced between 1923 and 1974 that represent the historical period. The dominance of nationalist discourses on the historical films to narrate the Indepence War and the Foundation Process in Yeşilçam Cinema broadly reflects the discourse of the official historiography of Turkish Republic. The antagonistic representation of the non-Muslim groups and ethnic diversities in Ottoman society in the historical Yeşilçam films of Independence War would be interpreted through the impact of nationalism in Turkish politics. The prominence of the nationalistic discourses to structure the filmic historiography of the Early Republican Period in Yeşilçam Cinema exhibits the impact of the official state ideology on the culture and society in Turkey until the 90s.", keywords = "Historiography, Historical Film, Yeşilçam Cinema, Early Republican Period of Turkey", volume = "13", number = "5", pages = "598-8", }
