Tarihsel Dönem Dizilerine Mesafeli Bakış: Eleştirel Bir Tür olarak İngiliz Ulusal Miras Filmleri

Bu çalışma geçmişin sinema ve televizyon ekranlarındaki görsel temsillerine eleştirel bakışı temsil etmek üzere 1980’lerde İngiltere özelinde ortaya çıkarak günümüze değin gelişim gösteren ulusal miras filmleri üst başlığının, türsel bir kategori olarak dönem dizilerine uyarlanabileceğini tartışmayı hedeflemektedir. 'Ulusal miras filmleri' etiketi, Viktorya ya da Edward dönemlerine ait İngiliz emperyal geçmişini öven muhafazakâr ve milliyetçi anlatılara karşı kültür endüstrisi, postmodernizm ve gösteri toplumu eleştirisinden beslenen mesafeli duruşu ifade etmek için kullanılmaktadır. Özellikle 1990’ların sonu ve 2000’li yıllar boyunca çoğunlukla postmodern estetiğin imkanlarını vurgulamayı tercih eden yorumlar eşliğinde ulusal miras eleştirisinin gelinen noktada açıklayıcı gücünü kaybettiğine yönelik görüşler dile getirilmektedir. Aksine bu çalışma, gösteri toplumunun içine gömülü olan dönem dramalarının anlamı üzerine verilen söylemsel mücadelelerin tarihsel seyrini sürmenin, kültür endüstrisi eleştirisine yaslı ulusal miras kategorisinin bir tür olarak geçerliliğini göstermeyi amaçlamaktadır.

Anahtar Kelimeler:

İngiliz ulusal miras eleştirisi, tarihsel dönem dramaları, kültür endüstrisi, gösteri toplumu, postmodernizm

A Distanced View of Historical Period Dramas: English Heritage Films as a Critical Genre

This study aims to argue that the heritage films, which emerged in the 1980s in the UK to represent a critical view of the visual representations of the past on cinema and television screens, can be adapted to period dramas as a genre category. The label 'heritage films' is used to express a distanced stance that is fed by the criticism of the culture industry, postmodernism and the society of spectacle against conservative and nationalist narratives that tended to praise the British imperial past of the Victorian or Edwardian eras. Particularly in the late 1990s and 2000s, there has been a tendency to emphasize the possibilities of postmodern aesthetics to argue that the critique of national heritage has lost its explanatory power by then. On the contrary, this study aims to trace the historical course of the discursive struggles over the meaning of period dramas embedded in the society of spectacle and to demonstrate the validity of the category of national heritage as a genre of culture industry criticism.

Keywords:

Heritage criticism, historical period dramas, culture industry, society of spectacle, postmodernism.,

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