Araştırma Makalesi
Yıl 2025,
Cilt: 27 Sayı: 1, 23 - 31, 30.06.2025
Öz
Doğu Avrupa, İkinci Dünya Savaşı sırasında önemli bir cephe görevi görmüştür. Bu bölge, uzun bir süre Nazi yönetiminin işgali altında kalmıştır. Sinema sanatı da bu işgalden önemli oranda etkilenmiştir. Film üretimi büyük oranda azalmış, bazı ülkelerde de durma noktasına gelmiştir. Naziler ile iş birliği yapan ülkelerde ise film üretimi devam etmiştir. Bu çalışmada, savaş sırasında Doğu Avrupa’da sinemasal üretimin hangi boyutta olduğu ve ideolojik söylemin inkişaf etme biçimleri ortaya çıkarıldı. Bu doğrultuda, İkinci Dünya Savaşı sırasında Doğu Avrupa’da sinemasal üretimi ve üretilen ideolojik söylemi anlamak adına yönetmenliğini Carmine Gallone’nin yaptığı Romanya-İtalya ortak yapımı Odessa Alevler İçinde (Odessa în flăcări, 1942) filmi göstergebilimsel bir yöntemle ele alındı. Filmde, Sovyetler Birliği’nin savaş sırasında ele geçirdiği Besarabya bölgesinin Alman, İtalyan ve Rumen askerleri tarafından geri alınması Kişinevli bir aile ekseninde hikâyeleştirilmektedir. Göstergebilim, göstergelerin anlamlı bir bütün olarak ele alınmasına imkân tanırken, onların toplumsal bağlamlarının da başarılı bir biçimde çözümlenmesine olanak sağlar. Bu yöntemin tercih edilmesinin nedeni, sinemanın ideoloji ve propaganda ile iç içe geçtiği bir dönemde, öne çıkan bir filmin alt metninin kapsamlı bir biçimde analiz edilmesine imkân vermesinden dolayıdır. Film de bununla doğru orantılı bir biçimde, Mihver Devletleri’nin Doğu Avrupa’ya yönelik bakışının başarılı bir biçimde ortaya konulmasından dolayı tercih edilmiştir. Çalışmanın sonucunda, filmde Alman ve İtalyan askerlerinin Romanya’da bulunmasına ideolojik bir zemin üretildiği, aynı zamanda Sovyetler Birliği’nin ortak bir düşman olduğu mesajının verildiği görülmüştür.
Anahtar Kelimeler
İkinci Dünya Savaşı Doğu Avrupa sineması göstergebilim sinema ve ideoloji Romanya
Kaynakça
- Barthes, R. (1986). Elements of semiology (11th ed). A. Lavers & C. Smith (trans.). Hill and Wang.
- Benjamin, W. (2007). Illuminations: Essays and reflections. H. Arendt (ed.). Schocken Books.
- Bondanella, P. (1993). The films of Roberto Rosselini. Cambridge University Press.
- Brunetta, G. P. (2009). The history of Italian cinema: A guide to Italian films from its origins to the twenty-first century. Princeton University Press.
- Bruns, J. F. (2009). Nazi cinema’s new women: Marika Rökk, Zarah Leander, Kristina Söderbaum. Cambridge University Press.
- Civelek, M. & Türkay, O. (2020). Göstergebilimin kuramsal açıdan incelenmesine yönelik bir araştırma. Alanya Akademik Bakış Dergisi, 4(3), 771-787.
- Cobley, P. (2005). Introduction. In P. Cobley (Ed.). The Routledge Companion to Semiotics and Linguistics (pp.3-13). Routledge.
- Elsie, R. (2010). Historical dictionary of Albania. The Scarecrow Press, Inc.
- Foucault, M. (1977). Language, counter-memory, practice: Selected essays and interviews. D. F. Bouchard (Ed.). Cornell University Press.
- Frey, D. (2018). Jews, Nazis, and the cinema of Hungary the tragedy of success, 1929–44. I. B. Tauris.
- Frey, D. (2011). Competitor or compatriot? Hungarian film in the shadow of the swastika, 1933-1944. In V. Winkel & D. Welch (Ed.). Cinema and the Swastika: The international expansion of Third Reich cinema (pp. 159-171). Palgrave Macmillan.
- Haltof, M. (2019). Polish cinema: A history. Berghahn Books.
- Hames, P. (2009). Czech and Slovak Cinema: Themes and Tradition. Edinburgh University Press.
- Hoffman, H. (1996). The triumph of propaganda, Film and national socialism 1933-1945. Berghahn Books Inc.
- Ioanid, R. (1996). Romania. In D. S. Wyman (Ed.). The world reacts to holocaust (pp. 225-255). The John Hopkins University Press.
- Kallis, A. A. (2011). A war within the war: Italy, film, propaganda and the quest for cultural hegemony in Europe (1933–43). In V. Winkel & D. Welch (Ed.). Cinema and the swastika: The international expansion of Third Reich cinema (pp.172-186). Palgrave Macmillan.
- Karalis, V. (2012). A History of Greek cinema. The Continuum International Publishing Group.
- Kenez, P. (1985). The birth of the propaganda state: Soviet methods of mass mobilisation 1917-1929. Cambridge University Press.
- Kimdem, G. A. (1979). Peirce’s semiotic phenominalism and film. Quarterly Review of Film Studies, 4(1), 61–69.
- Kracauer, S. (2004). From Caligari to Hitler: A psychological history of the German film. Princeton Classic.
- Laist, R. (2015). Cinema of simulation: Hyperreality Hollywood in the long 1990s. Bloomsbury.
- Morandini, M. (1997). Italy from fascism to neo-realism. In G. Nowell-Smith (Ed.). The Oxford history of world cinema (pp. 353-360). Oxford University Press.
- Munzi, M. (2004). Italian archaeology in Libya: From colonial Romanita to decolonization of the past. In M. L. Galaty & C. Watkinson (Ed.). Archaeology under dictatorship (pp. 73-108). New York: Khuwer Academic.
- Nasta, D. (2013). Contemporary Romanian cinema: The history of an unexpected miracle. Columbia University Press.
- Öztürk, M. (2015). Modern zamanın akışında sinema sanatı. Doğu Kitabevi.
- Rafaelic, D. (2011). The influence of German cinema on newly established Croatian cinematography, 1941-1945. In V. Winkel & D. Welch (Ed.). Cinema and the swastika: The international expansion of Third Reich cinema (pp. 100-107). Palgrave Macmillan.
- Sarıtaş, İ. (2018). Nazi döneminde sinemanın propaganda aracı olarak işlevi. İletişim Kuram ve Araştırma Dergisi (47), 330-350.
- Sennett, A. (2014). Film propaganda: Triumph of the Will as a case study. Wayne State University Press.
- Soussloff, C. M. (1996). Leni Riefenstahl: The power of the image. Wayne University Press.
- Stojanova, C. (2019). Historical overview of Romanian cinema. In C. Stojanova (Ed.). The new Romanian Cinema (pp. 243-282). Edinburgh University Press.
- Watson, R. P. (2016). The incredible untold story of a doomed ship in World War II: The Nazi Titanic. Da Capo Press.
- Weinberg, D. (1984). Approaches to the study of film in the Third Reich: A critical appraisal. Journal of Contemporary History, 19(1), 105–126.
- Welch, D. (2007). The Third Reich, politics and propaganda. Taylor&Francis.
Yıl 2025,
Cilt: 27 Sayı: 1, 23 - 31, 30.06.2025
Öz
Eastern Europe was as an important front during the Second World War. This region was occupied by the Nazi regime for a long time. The art of cinema was also significantly affected by this occupation. Film production decreased drastically and came to a standstill in some countries. In countries that cooperated with the Nazis, however, film production continued. In this study, the extent of cinematic production in Eastern Europe during the war and the ways in which ideological discourse was developed are explored. Accordingly, in order to understand the cinematic production and ideological discourse in Eastern Europe during the Second World War, the Romanian-Italian co-production Odessa in Flames (Odessa în flăcări, 1942) directed by Carmine Gallone was analyzed with a semiotic method. The film depicts the recapture of Bessarabia by German, Italian and Romanian troops after the Soviet Union captured the region during the war through the story of a family from Chisinau. Semiotics not only allows signs to be analyzed as a meaningful whole, but also allows their social context to be decoded successfully. The reason why this method is preferred is that it allows for a comprehensive analysis of the subtext of a prominent film at a time when cinema is intertwined with ideology and propaganda. In direct proportion to this, the film was chosen because it successfully reveals the Axis powers’ view of Eastern Europe. As a result of the study, it has been observed that the film provides an ideological basis for the presence of German and Italian soldiers in Romania, while at the same time conveying the message that the Soviet Union was a common enemy.
Anahtar Kelimeler
Second World War Eastern European cinema semiology cinema and ideology Romania
Kaynakça
- Barthes, R. (1986). Elements of semiology (11th ed). A. Lavers & C. Smith (trans.). Hill and Wang.
- Benjamin, W. (2007). Illuminations: Essays and reflections. H. Arendt (ed.). Schocken Books.
- Bondanella, P. (1993). The films of Roberto Rosselini. Cambridge University Press.
- Brunetta, G. P. (2009). The history of Italian cinema: A guide to Italian films from its origins to the twenty-first century. Princeton University Press.
- Bruns, J. F. (2009). Nazi cinema’s new women: Marika Rökk, Zarah Leander, Kristina Söderbaum. Cambridge University Press.
- Civelek, M. & Türkay, O. (2020). Göstergebilimin kuramsal açıdan incelenmesine yönelik bir araştırma. Alanya Akademik Bakış Dergisi, 4(3), 771-787.
- Cobley, P. (2005). Introduction. In P. Cobley (Ed.). The Routledge Companion to Semiotics and Linguistics (pp.3-13). Routledge.
- Elsie, R. (2010). Historical dictionary of Albania. The Scarecrow Press, Inc.
- Foucault, M. (1977). Language, counter-memory, practice: Selected essays and interviews. D. F. Bouchard (Ed.). Cornell University Press.
- Frey, D. (2018). Jews, Nazis, and the cinema of Hungary the tragedy of success, 1929–44. I. B. Tauris.
- Frey, D. (2011). Competitor or compatriot? Hungarian film in the shadow of the swastika, 1933-1944. In V. Winkel & D. Welch (Ed.). Cinema and the Swastika: The international expansion of Third Reich cinema (pp. 159-171). Palgrave Macmillan.
- Haltof, M. (2019). Polish cinema: A history. Berghahn Books.
- Hames, P. (2009). Czech and Slovak Cinema: Themes and Tradition. Edinburgh University Press.
- Hoffman, H. (1996). The triumph of propaganda, Film and national socialism 1933-1945. Berghahn Books Inc.
- Ioanid, R. (1996). Romania. In D. S. Wyman (Ed.). The world reacts to holocaust (pp. 225-255). The John Hopkins University Press.
- Kallis, A. A. (2011). A war within the war: Italy, film, propaganda and the quest for cultural hegemony in Europe (1933–43). In V. Winkel & D. Welch (Ed.). Cinema and the swastika: The international expansion of Third Reich cinema (pp.172-186). Palgrave Macmillan.
- Karalis, V. (2012). A History of Greek cinema. The Continuum International Publishing Group.
- Kenez, P. (1985). The birth of the propaganda state: Soviet methods of mass mobilisation 1917-1929. Cambridge University Press.
- Kimdem, G. A. (1979). Peirce’s semiotic phenominalism and film. Quarterly Review of Film Studies, 4(1), 61–69.
- Kracauer, S. (2004). From Caligari to Hitler: A psychological history of the German film. Princeton Classic.
- Laist, R. (2015). Cinema of simulation: Hyperreality Hollywood in the long 1990s. Bloomsbury.
- Morandini, M. (1997). Italy from fascism to neo-realism. In G. Nowell-Smith (Ed.). The Oxford history of world cinema (pp. 353-360). Oxford University Press.
- Munzi, M. (2004). Italian archaeology in Libya: From colonial Romanita to decolonization of the past. In M. L. Galaty & C. Watkinson (Ed.). Archaeology under dictatorship (pp. 73-108). New York: Khuwer Academic.
- Nasta, D. (2013). Contemporary Romanian cinema: The history of an unexpected miracle. Columbia University Press.
- Öztürk, M. (2015). Modern zamanın akışında sinema sanatı. Doğu Kitabevi.
- Rafaelic, D. (2011). The influence of German cinema on newly established Croatian cinematography, 1941-1945. In V. Winkel & D. Welch (Ed.). Cinema and the swastika: The international expansion of Third Reich cinema (pp. 100-107). Palgrave Macmillan.
- Sarıtaş, İ. (2018). Nazi döneminde sinemanın propaganda aracı olarak işlevi. İletişim Kuram ve Araştırma Dergisi (47), 330-350.
- Sennett, A. (2014). Film propaganda: Triumph of the Will as a case study. Wayne State University Press.
- Soussloff, C. M. (1996). Leni Riefenstahl: The power of the image. Wayne University Press.
- Stojanova, C. (2019). Historical overview of Romanian cinema. In C. Stojanova (Ed.). The new Romanian Cinema (pp. 243-282). Edinburgh University Press.
- Watson, R. P. (2016). The incredible untold story of a doomed ship in World War II: The Nazi Titanic. Da Capo Press.
- Weinberg, D. (1984). Approaches to the study of film in the Third Reich: A critical appraisal. Journal of Contemporary History, 19(1), 105–126.
- Welch, D. (2007). The Third Reich, politics and propaganda. Taylor&Francis.
Toplam 33 adet kaynakça vardır.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Sinema Sosyolojisi |
| Bölüm | Araştırma Makalesi |
| Yazarlar | |
| Yayımlanma Tarihi | 30 Haziran 2025 |
| Gönderilme Tarihi | 19 Ağustos 2024 |
| Kabul Tarihi | 13 Haziran 2025 |
| Yayımlandığı Sayı | Yıl 2025 Cilt: 27 Sayı: 1 |
