Endüstri İlişkiler Disiplininde Sinemanın Yeri ve Önemi (1965-1980)

Bu çalışmanın amacı; sacayaklarını işçi, işveren ve devlet üçlüsünün oluşturduğu ve çalışma yaşamında başta ‘ücret’ konusu olmak üzere ‘sendikacılık’, ‘toplu pazarlık’, ‘toplu iş sözleşmesi’, ‘grev’ ve ‘lokavt’ parametreleri ekseninde gelişen endüstri ilişkileri disiplini ile sinema arasındaki ilişkiyi incelemektir. Bir bilim dalı olarak endüstri ilişkileri, özellikle sanayileşmeye paralel gelişen ve kitlesel bir çoğunluğa ulaşan ‘işçi sınıfı’ ile birlikte ivme kazanmıştır. Dolayısıyla odak noktasında çalışanların yani emek kesiminin ve onların sorunlarının yer aldığı endüstri ilişkileri, başta örgütlenme olmak üzere çalışanların iş yaşamında karşılaştıkları problemlere odaklanma ve bu problemlerin çözümü noktasında inisiyatif alma girişimlerinin doğal bir sonucu olarak ortaya çıkmıştır. Nitekim sanayileşmenin ete kemiğe büründüğü 18. yüzyıl sonu ve 19. yüzyıl başlarında İngiltere merkez olmak üzere Batı dünyasının genelinde sanayileşmeyle beraber sürdürülebilir kalkınma ve büyümenin temelleri atılmış; sermaye birikimine, rekabete, özel mülkiyete ve serbest piyasa ekonomisine dayalı yeni bir iktisadi anlayış kendini göstermiştir. Ancak sanayileşme beraberinde sınıf sorunlarını da gündeme taşımış, yaklaşık iki buçuk asırdır işçi sınıfı ile işveren arasındaki ilişkinin işveren lehine ve işçi sınıfı aleyhine temerküz etmesi ya da Marx’ın ifadesiyle “zengin azınlık” lehine; “yoksul çoğunluk” aleyhine evrimi yeni tartışmaların fitilini ateşlemiştir. O nedenle, işçi ve işveren arasındaki mücadele retorik olmanın ötesine geçmiş; edebi yapıtlar başta olmak üzere film endüstrisini de etkileyebilecek boyutlara ulaşmıştır. Çalışmada söylev analizi ve göstergebilimsel analiz yöntemiyle Türk sinemasının duayen filmleri arasında yer alan “Karanlıkta Uyananlar” (1965), “Diyet” (1974), “Güneşli Bataklık” (1977) ve “Demiryol” (1980) filmleri analiz edilmiştir. Söz konusu filmlerin analizinde endüstri ilişkilerinin temelini teşkil eden ‘sendikacılık’, ‘toplu pazarlık’, ‘toplu iş sözleşmesi’, ‘grev’ ve ‘lokavt’ parametreleri kullanılmıştır.

The Position and the Significance of Cinema within the Discipline of Industrial Relations (1965-1980)

The objective of this study is to focus on the correlation between industrial relations as a scientific discipline, which includes tripartite relationships like employee, employer, and state, and which was developed in parallel to the parameters in labor life ‘wage’ at first and ‘unionism’, ‘collective bargaining’, ‘collective labor contract’, ‘strike’, and ‘lock out’. As a scientific field, industrial relations improved in the aftermath of industrialization in particular and gained a momentum through ‘working class’ that converted into a massive scale. That’s why, industrial relations, on the basis of which employee or in other words labor and their problems are available, appeared as a natural result of focusing on workers’ problems in work place and taking initiatives to solve those sorts of problems. At the end of 18th century and commencement of 19th century on which industrialization came to fore in England particularly and in the West generally, sustainable development and growth was based in line with industrialization; new economic model also arose that depended upon capital accumulation, competition, private property, and free market economy. However, industrialization brought about class problems and it ignited new discussions that have lasted for two hundred and fifty years which resulted from the fact that the relevancy between employee and employer turned into the advantage of employer or as Marx stated its evolution from the advantage of “prosperous minority”; to the disadvantage of “poor majority”. That’s why, the competition between employee and employer went far beyond its rhetoric; and it reached its dimension to affect literary works fundamentally and film industry as well. In the study, through discourse analysis and semiotics method, four movies were analyzed such as “Those Waking up Early in the Morning”, (1965), “Cost”, (1974), “Sunny Marsh”, (1977), and “Railway”, (1980), all of which were among the cognoscenti of Turkish cinema. In the analysis of these named films, the parameters such as ‘unionism’, ‘collective bargaining’, ‘collective labor contract’, ‘strike’, and ‘lock out’, all of which are the basic components of industrial relations, were used.

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1982 Anayasası.
1983 tarih ve 2822 sayılı Toplu Pazarlık, Grev ve Lokavt Kanunu.
2012 tarih ve 6356 sayılı Sendikalar ve Toplu İş Sözleşmesi Kanunu.
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