Araştırma Makalesi
Yıl 2021,
, 127 - 148, 29.12.2021
Öz
Makale, yerli dijital platformlar Blu TV ve Puhu TV’nin 2017-2020 yılları arasında yayınladığı
dizilerin türlerine odaklanarak, bu dizilerdeki anlatıların, fazlasıyla muhafazakâr olan
geleneksel televizyon dizileri arasındaki farklılıklarını keşfetmeyi amaçlamaktadır. Suç
draması türünün bu platformlarca sıklıkla tercih edildiği tespit edildikten sonra Masum, Bozkır,
Şahsiyet ve Dip adlı diziler tür analizi yönteminin ideolojik yaklaşımı benimsenerek
incelenmiştir. Seçilen dört dizinin toplumsal bağlamda benzer bir karamsarlığı paylaştığı
görülmektedir. Buna gerekçe olarak ise kötüye sınırsız güç atfedilerek toplum üyelerinin her
birinin az ya da çok kurban olarak temsil edilmesi gösterilebilir. Ayrıca statükonun
değiştirilemez olarak tasvir edilmesi kaçışsızlığa yapılan vurguyu güçlendirmektedir. Bu
nedenle söz konusu anlatıların işlevsiz hukuk sistemini normalleştirmeleri ve iyileşme
beklentisini nötralize etmeleri nedeniyle eleştirilmesi mümkündür. Sonuç olarak makale, bu
yeni dizilerin, mecralarının sunduğu özgürlüğe rağmen progresif anlatılar olmaktan uzak
olduklarını iddia eder.
Anahtar Kelimeler
Kaynakça
- Abrams, Jerold J. 2006. “From Sherlock Holmes to the Hard-Boiled Detective in Film Noir”, in The Philosophy of Film Noir, edited by Mark T. Conard, 69-90. Kentucky: The University Press of Kentucky.
- Arslan, Savaş. 2005. Melodram. İstanbul: L&M Yayınları.
- Andrews, Elenor. 2014. Place, Setting, Perspective: Narrative Space in The Films of Nanni Moretti. Vancouver: Fairleigh Dickinson University Press.
- Borde, Raymond and Etienne Chaumeton. 1995. “Towards a Definition of Film Noir” Accessed December 20, 2020. http://intelligentagent.com/noir/Borde_Chaumeton.pdf
- Clarke, Alan. 1992. “'You’re Nicked!’ Television Police Series and the Fictional Representation of Law and Order” In Come on Down? Popular media culture in post-war Britain, edited by Dominic Strinati and Stephen Wagg, 232-253. London: Routledge.
- Cobb, Sharon Y. 1992. “Writing the New Noir Film” Accessed January 8, 2021. http://intelligentagent.com/noir/Cobb.pdf
- Conard, Mark T. 2006. “Introduction.” In The Philosophy of Film Noir, edited by Mark T. Conard, 1-6. Kentucky: The University Press of Kentucky.
- Cooke, Lez. 2008. “The Crime Series” In The Television Genre Book, edited by Glen Creeber. London: Palgrave Macmillan.
- Dixon, Wheeler Winston. 2009. Film Noir and the Cinema of Paranoia. Edinburgh: Edinburgh University Press.
- Dyer, Richard. 1977. “Homosexuality and Film Noir” Accessed January 18, 2021. http://www.ejumpcut.org/archive/onlinessays/JC16folder/HomosexFilmNoir.html
- Fluck, Winfried. 2009. “Mass Culture Modernism: Guilt and Subjectivity in Film Noir” In Romance with America? Essays on Culture, Literature, and American Studies, edited by Laura
- Bieger and Johannes Voelz, 285-319. Heidelberg: Universitatsverlag Winter. “İnternet televizyonlarına RTÜK denetimi geldi” Accessed November 18, 2020. https://www.dw.com/tr/internet-televizyonlar%C4%B1na-rt%C3%BCk-denetimi-geldi/a-49841223 Kasapoğlu, Çağıl, and Osman Kaytazoğlu. 2018. “Türkiye çocuklarını koruyamıyor mu?” BBC Türkçe, November 20, 2018 Accessed May 5, 2020. https://www.bbc.com/turkce/haberler-turkiye-44824367
- Mastro, Dana. 2020. “Introduction in Normalizing Injustice: The Dangerous Misrepresentations That Define Television’s Scripted Crime Genre” Accessed January 20, 2021. https://hollywood.colorofchange.org/crime-tv-report/
- Neale, Stephen. 2000a. Genre and Hollywood, London: Routledge.
- Neale, Stephen. 2000b. “Questions of Genre” in Film and Theory an Anthology edited by Robert Stam and Toby Miller, New Jersey: Wiley.
- Rogers, Margaret. 2008. “Arresting drama: The television police genre, Studies.” Learning, Evaluation Innovation and Development, 5(2): 78–84.
- Park, William. 2011. What Is Film Noir? Pennsylvania: Bucknell University Press.
- Pearson, Roberta. 2007. “Lost in Transition: From Post-Network to Post-Television” In Quality TV: Contemporary American Television and Beyond, edited by Janet McCabe and Kim Akass, 239-256. London; New York: I.B. Tauris.
- Robinson, Rashad. 2020. “Foreword” in Normalizing Injustice: The Dangerous Misrepresentations That Define Television’s Scripted Crime Genre” 6-15 Accessed January 17, 2021. https://hollywood.colorofchange.org/crime-tv-report/
- Sanders, Steven M. 2008. “An Introduction to the Philosophy of TV Noir / Noir et Blanc in Color.” In The Philosophy of TV noir, edited by Steven M. Sanders and Aeon J. Skoble, 1-32 / 95-114. Kentucky: The University Press of Kentucky.
- Sanders, Steven M. 2006. “Film Noir and the Meaning of Life.” In The Philosophy of Film Noir, edited by. Mark T. Conard, 91-106. Kentucky: The University Press of Kentucky.
- Schuler, Jeanne, and Patrick Murray. 2007. “Anything Is Possible Here” Capitalism, Neo-Noir, and Chinatown.” In The Philosophy of Neo-Noir, edited by Mark T. Conard, 167-182. Kentucky: The University Press of Kentucky.
- Şentürk, Rıdvan. 2018. “Türk Televizyon Dizileri Efsanesi ve Gerçekler” In Televizyon Dizilerinin Keşfi, edited by Yenal Göksun, 11-38. İstanbul: Kaktüs Yayınları.
- Tasker, Yvonne. 2013. “Women in Film Noir.” In A Companion to Film Noir, edited by Andrew Spicer and Helen Hanson, 353-368. New Jersey: Blackwell Publishing.
- Tüzün-Ateşalp, Selin. 2016. “Nitelikli Televizyon’: Medya Profesyonellerinin Perspektifinden Türk Televizyon Dizilerinde Nitelik.” İletişim 25: 9-37 https://doi.org/10.16878/gsuilet.283029
- Winckles, Andrew O. 2019. Eighteenth-Century Women's Writing and the Methodist Media Revolution. Liverpool: Liverpool University Press
- Woodhouse, Ben. 2001. “Cop Shows (Police Drama).” In Critical Dictionary of Film and Television Theory, edited by Roberta E. Pearson and Philip Simpson. Newyork: Routledge.
- Woolfolk, Alan. 2006. “The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent”. In The Philosophy of Film Noir, edited by Mark T. Conard, 107-124. Kentucky: The University Press of Kentucky.
Yıl 2021,
, 127 - 148, 29.12.2021
Öz
The article focuses on the original series of Turkish streaming services Blu TV and Puhu TV
released between 2017 and 2020 in terms of genre, and aims to discover their differences from
the traditional television series having highly conservative narratives. After identifying that the
crime drama genre is primarily preferred by these services, the ideological approach of genre
analysis is adopted to study four series which are Masum (Innocent), Bozkır (Steppe), Şahsiyet
(Persona), and Dip (Base). It is found that all four of the series share a common pessimism in
a social context which is created by representing the evil as omnipotent and all members of the
society as more or less victims. In addition, depicting the status quo as unchangeable
strengthens the emphasis on -no escape- in general. It is possible to criticize these narratives for
normalizing dysfunctional legal system, and neutralizing the prospect for improvement. In
conclusion, the article claims that what these new series offer are far from being progressive,
despite the freedom of their medium
Anahtar Kelimeler
Kaynakça
- Abrams, Jerold J. 2006. “From Sherlock Holmes to the Hard-Boiled Detective in Film Noir”, in The Philosophy of Film Noir, edited by Mark T. Conard, 69-90. Kentucky: The University Press of Kentucky.
- Arslan, Savaş. 2005. Melodram. İstanbul: L&M Yayınları.
- Andrews, Elenor. 2014. Place, Setting, Perspective: Narrative Space in The Films of Nanni Moretti. Vancouver: Fairleigh Dickinson University Press.
- Borde, Raymond and Etienne Chaumeton. 1995. “Towards a Definition of Film Noir” Accessed December 20, 2020. http://intelligentagent.com/noir/Borde_Chaumeton.pdf
- Clarke, Alan. 1992. “'You’re Nicked!’ Television Police Series and the Fictional Representation of Law and Order” In Come on Down? Popular media culture in post-war Britain, edited by Dominic Strinati and Stephen Wagg, 232-253. London: Routledge.
- Cobb, Sharon Y. 1992. “Writing the New Noir Film” Accessed January 8, 2021. http://intelligentagent.com/noir/Cobb.pdf
- Conard, Mark T. 2006. “Introduction.” In The Philosophy of Film Noir, edited by Mark T. Conard, 1-6. Kentucky: The University Press of Kentucky.
- Cooke, Lez. 2008. “The Crime Series” In The Television Genre Book, edited by Glen Creeber. London: Palgrave Macmillan.
- Dixon, Wheeler Winston. 2009. Film Noir and the Cinema of Paranoia. Edinburgh: Edinburgh University Press.
- Dyer, Richard. 1977. “Homosexuality and Film Noir” Accessed January 18, 2021. http://www.ejumpcut.org/archive/onlinessays/JC16folder/HomosexFilmNoir.html
- Fluck, Winfried. 2009. “Mass Culture Modernism: Guilt and Subjectivity in Film Noir” In Romance with America? Essays on Culture, Literature, and American Studies, edited by Laura
- Bieger and Johannes Voelz, 285-319. Heidelberg: Universitatsverlag Winter. “İnternet televizyonlarına RTÜK denetimi geldi” Accessed November 18, 2020. https://www.dw.com/tr/internet-televizyonlar%C4%B1na-rt%C3%BCk-denetimi-geldi/a-49841223 Kasapoğlu, Çağıl, and Osman Kaytazoğlu. 2018. “Türkiye çocuklarını koruyamıyor mu?” BBC Türkçe, November 20, 2018 Accessed May 5, 2020. https://www.bbc.com/turkce/haberler-turkiye-44824367
- Mastro, Dana. 2020. “Introduction in Normalizing Injustice: The Dangerous Misrepresentations That Define Television’s Scripted Crime Genre” Accessed January 20, 2021. https://hollywood.colorofchange.org/crime-tv-report/
- Neale, Stephen. 2000a. Genre and Hollywood, London: Routledge.
- Neale, Stephen. 2000b. “Questions of Genre” in Film and Theory an Anthology edited by Robert Stam and Toby Miller, New Jersey: Wiley.
- Rogers, Margaret. 2008. “Arresting drama: The television police genre, Studies.” Learning, Evaluation Innovation and Development, 5(2): 78–84.
- Park, William. 2011. What Is Film Noir? Pennsylvania: Bucknell University Press.
- Pearson, Roberta. 2007. “Lost in Transition: From Post-Network to Post-Television” In Quality TV: Contemporary American Television and Beyond, edited by Janet McCabe and Kim Akass, 239-256. London; New York: I.B. Tauris.
- Robinson, Rashad. 2020. “Foreword” in Normalizing Injustice: The Dangerous Misrepresentations That Define Television’s Scripted Crime Genre” 6-15 Accessed January 17, 2021. https://hollywood.colorofchange.org/crime-tv-report/
- Sanders, Steven M. 2008. “An Introduction to the Philosophy of TV Noir / Noir et Blanc in Color.” In The Philosophy of TV noir, edited by Steven M. Sanders and Aeon J. Skoble, 1-32 / 95-114. Kentucky: The University Press of Kentucky.
- Sanders, Steven M. 2006. “Film Noir and the Meaning of Life.” In The Philosophy of Film Noir, edited by. Mark T. Conard, 91-106. Kentucky: The University Press of Kentucky.
- Schuler, Jeanne, and Patrick Murray. 2007. “Anything Is Possible Here” Capitalism, Neo-Noir, and Chinatown.” In The Philosophy of Neo-Noir, edited by Mark T. Conard, 167-182. Kentucky: The University Press of Kentucky.
- Şentürk, Rıdvan. 2018. “Türk Televizyon Dizileri Efsanesi ve Gerçekler” In Televizyon Dizilerinin Keşfi, edited by Yenal Göksun, 11-38. İstanbul: Kaktüs Yayınları.
- Tasker, Yvonne. 2013. “Women in Film Noir.” In A Companion to Film Noir, edited by Andrew Spicer and Helen Hanson, 353-368. New Jersey: Blackwell Publishing.
- Tüzün-Ateşalp, Selin. 2016. “Nitelikli Televizyon’: Medya Profesyonellerinin Perspektifinden Türk Televizyon Dizilerinde Nitelik.” İletişim 25: 9-37 https://doi.org/10.16878/gsuilet.283029
- Winckles, Andrew O. 2019. Eighteenth-Century Women's Writing and the Methodist Media Revolution. Liverpool: Liverpool University Press
- Woodhouse, Ben. 2001. “Cop Shows (Police Drama).” In Critical Dictionary of Film and Television Theory, edited by Roberta E. Pearson and Philip Simpson. Newyork: Routledge.
- Woolfolk, Alan. 2006. “The Horizon of Disenchantment: Film Noir, Camus, and the Vicissitudes of Descent”. In The Philosophy of Film Noir, edited by Mark T. Conard, 107-124. Kentucky: The University Press of Kentucky.
Toplam 28 adet kaynakça vardır.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 29 Aralık 2021 |
| Yayımlandığı Sayı | Yıl 2021 |