Sibel NORMAN ÇELİK

Dramatisation of history: The queen

Bu çalışma The Queen (Kraliçe) adlı İngiliz filmini tarihsel filmlerdeki gerçeklik ile kurmaca arasında süregelen tartışma bağlamında, “Hollywood tarafından anlatılan tarihin” yakın geçmişe dair algı üzerindeki etkisi açısından incelemektedir. Dramaturgların köklü uygulamalarından olan tarihsel anlatılara kurmaca diyaloglar ve hayali olaylar katma, çağdaş sinemanın artan erişilebilirliği ve gelişmiş kurgu teknikleri ile yeni bir boyut kazanmaktadır. Bu durum Oliver Stone’un çalışmalarına ilişkin eleştirel bir tartışmaya yol açmıştır. Bu çalışma yönetmen Stephen Frears ve senaryo yazarı Peter Morgan’ın The Queen’de benimsemiş oldukları daha ince yaklaşımın yakın geçmişin yorumlanmasında aynı oranda etkili olabileceğini tartışmakta ve bu durumun bu tür filmlerin hatalı sınıflandırılmalarından dolayı eleştirmenler tarafından göz ardı edildiğini öne sürmektedir. Tarih yazımının amaçlarına uygun olmayan nostalji ve hürmet niteliklerinin karışımıyla The Queen’in miras sineması türünde bir gelişme olarak değerlendirilmesi gerektiği önerilmektedir.

Tarihin dramatizasyonu: The queen

This essay examines the British film The Queen in the context of the ongoing debate over fact and fiction in historical films and the impact of “History by Hollywood” on public perceptions of the recent past. The long-established practice among dramatists of inserting fictional dialogue and imagined episodes into historical narratives has been given a new dimension by the sophisticated editing techniques and increasing accessibility of contemporary film, leading to a critical debate concerning the work of Oliver Stone. The essay argues that the more subtle approach adopted by director Stephen Frears and scriptwriter Peter Morgan in The Queen may have an equally significant influence on the interpretation of recent history, a fact that has been overlooked by critics due to a mistaken categorisation of such films. It is suggested that The Queen should properly be considered as a development within the genre of heritage cinema, with its characteristic blend of nostalgia and deference, which is ill-suited to the purposes of historiography.

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