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(Person) Percentage - Sabanci University Research Database

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The Asian Media & Mass Communication Conference 2010 Osaka, Japan<br />

bombardment upon seeing grey clouds on a rainy day and with her running to rescue her<br />

husband. The film turns back to point where it started. That is, it starts with the representation<br />

of dropping of bomb and finishes with the same representation. Unlike Pearl Harbor<br />

Rhapsody in August does not explain political superiorities, justified reasons for war, the<br />

beliefs their countries will gain and does not draw definite lines between good and bad. It only<br />

tries to show how helpless human being is against badness while trying to tell that the world<br />

is full of badness. In Pearl Harbor, while the movie finishes with Evelyn’s words “time pieced<br />

together our souls and we pulled round somehow. Everybody understood the power of<br />

America. Grandmother Kane cannot pull around and runs to indefiniteness. Time could not<br />

pull round her soul. The trauma she experienced exerts itself years after.<br />

Thus cinema just as mentioned in the beginning of the study mounts and reflects the<br />

elements it collected for real life on the curtain and influences mental worlds of people. It<br />

helps to remove ideological doubts. This is an indication of the fact that in spite of artistic<br />

features cinema has, it has turned into a political domain as a result of being means of mass<br />

communication. Especially at the time of war when great traumas are experienced, cinema, on<br />

the one hand, consoles, comforts and cleans off consciences and minds, on the other hand it<br />

lead to their questioning. Is the cinema being turned into a device which with the artificial<br />

memories it created prevents us from seeing the reality?<br />

References<br />

Althusser, Louis. (2004) Ideoloji ve Devletin Ideolojik Aygıtları. (İdeologie et Appareils<br />

İdeologıques d’etat). Alp Tumertekin, (Trans.) Istanbul: Ithaki Yayınları<br />

Althusser, Louis. (2008). Sanat Uzerine Yazılar. (Ecrits sur I’art) Alp Tumertekin, Zuhre<br />

Ilkgelen (Trans.), Istanbul: Ithaki Yayınları.<br />

Comolli, Jean-Luc. Jean,Narboni. (2010)Sinema/Ideoloji/Elestiri (Cinema/İdeology/Criticism)<br />

(Secil Buker Ed.) Sinema Tarih Kuram Elestiri Istanbul: Kırmızıkedi Yayıncılık. 97-<br />

109.<br />

Dagtas, Banu. (1999).Ingılız Kulturel Calısmalarında Ideoloji. Anadolu Universitesi İletisim<br />

Bilimleri Fakultesi Kurgu Dergisi,16, 335-357.<br />

Eagleton, Terry. (2005). Ideoloji (Ideology) Muttalip Ozcan (Trans.), Ayrıntı Yayınları<br />

Erkılıc, Hakan.(1997) Sinema ve Ideoloji 12 Eylül Filmlerinin Toplumsal Cozumlemesi<br />

Anadolu Universitesi Sosyal Bilimler Enstitusu Yayınlanmamıs Yuksek Lisans Tezi,<br />

Eskisehir.<br />

Erkılıc, Senem. (2009) Sinema ve Toplumsal Etkilesim: Teknoloji, Sanat ve Seyir. Mukadder<br />

Cakır Aydın (Ed.) Sanatlar ve Toplumsal Etkilesim. Istanbul: E Yayınları, 47-73.<br />

Guchan, Gulseren. (1993) “Sinema Toplum İ liskileri” Anadolu Üniversitesi İletisim<br />

Bilimleri Fakultesi Kurgu Dergisi,12, 51-71.<br />

Guchan, Gulseren. (1999) Tur Sineması, Goruntu ve Ideoloji. Eskisehir: Anadolu<br />

Universitesi Yayınları.<br />

295

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