Sinema-toplum ilişkileri açısından Türk sineması

Abstract

SUMMAHY The cinema is a vital art as well as being ah omnipresent part of our cultural scene. It rests on the feeling that we must look to the methods of criticism if we are to understand the communication of meaning» This twentieth- century institution has an enormous socisl importance. Only for that reason we have to try to understand such a vital social process. Obviously this research is not a sociology of film. It is only a partial account, an interpretaion of the various social worlds in which the movies are to be found ` The thesis consists of an introduction followed by three chapters on methodology and, two chapters of limited case studies on Turkish Cinema after I960. Chapter one is broadly microscopic in its focus, concerned primarily with the process of communication, and often takes off from criticism of established sociological studies It is in this area that we find most research, and so these chapter is a mixture of critical co,nmentary and further development 0 191Chapter two deals with `film language`. The discussions of film language is perhaps the most complex and abstract section of the thesis, but it is an essential prelude to the empirical discussions that follow it. Though the discussion of `film language` grows out of the analysis,f the communication process, its main implications lie elswhere0 It leads to Chapter 3 which concerned with cinema as a pattern of culture within society. Chapter four is a case study of the individual problems of movie characters in Turkish films made after I960. The individual problems taken into consideration are; the women rights, love and sexual problems of women and the class mobility. Chapter five is another case study of social problems that are to be found in Turkish movie after I960. The land problem and unemployment with the problem of democracy are the main social problems that have been focused on in this chapter. 192